4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
18 @c .{Reference Manual}
20 @node Reference Manual
21 @chapter Reference Manual
23 This document describes GNU LilyPond and its input format. The last
24 revision of this document was made for LilyPond 1.3.145. It supposes a
25 passing familiarity with how LilyPond input works. New users are
26 encouraged to study the tutorial first.
49 * Skipping corrected music::
50 * Interpretation context::
60 The purpose of LilyPond is explained informally by the term `music
61 typesetter'. This is not a fully correct name: not only does the
62 program print musical symbols, it also makes aesthetic decisions.
63 Symbols and their placements are @emph{generated} from a high-level
64 musical description. In other words, LilyPond would be best described
65 by `music compiler' or `music to notation compiler'.
67 LilyPond is linked to GUILE, GNU's Scheme library for extension
68 programming. The Scheme library provides the glue that holds together
69 the low-level routines and separate modules which are written in C++.
71 When lilypond is run to typeset sheet music, the following happens:
73 @item GUILE Initialization: various scheme files are read
74 @item parsing: first standard @code{ly} initialization files are read, and
75 then the user @file{ly} file is read.
76 @item interpretation: the music in the file is processed ``in playing
77 order'', i.e. the order that you use to read sheet music, or the
78 order in which notes are played. The result of this step is a typesetting
82 The typesetting specification is solved: positions and formatting is
85 @item the visible results ("virtual ink") are written to the output file.
88 During these stages different types of data play the the main role:
89 during parsing, @strong{Music} objects are created. During the
90 interpretation, @strong{contexts} are constructed, and with these contexts
91 a network of @strong{graphical objects} (``grobs'') is created. These
92 grobs contain unknown variables, and the network forms a set of
93 equations. After solving the equations and filling in these variables,
94 the printed output (in the form of @strong{molecules}) is written to an
97 These threemanship of tasks (parsing, translating, typesetting) and
98 data-structures (music, context, graphical objects) permeates the entire
99 design of the program.
106 The most basic forms of music are notes. We discuss how you enter them
107 here. Notes on their own don't form valid input, but for the sake of
108 brevity we omit obligatory lint such as @code{\score} blocks and
109 @code{\paper} declarations.
114 * Defining pitch names::
117 * Easy Notation note heads ::
129 @cindex Note specification
131 @cindex entering notes
133 The verbose syntax for pitch specification is
135 @cindex @code{\pitch}
137 \pitch @var{scmpitch}
140 @var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
142 In Note and Chord mode, pitches may be designated by names. The default
143 names are the Dutch note names. The notes are specified by the letters
144 @code{a} through @code{g} (where the octave is formed by notes ranging
145 from @code{c} to @code{b}). The pitch @code{c} is an octave below
146 middle C and the letters span the octave above that C.
148 @cindex note names, Dutch
150 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
151 name. A flat is formed by adding @code{-es}. Double sharps and double
152 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
153 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
154 both forms are accepted.
156 LilyPond has predefined sets of note names for various other languages.
157 To use them, simply include the language specific init file. For
158 example: @code{\include "english.ly"}. The available language files and
159 the names they define are:
162 Note Names sharp flat
163 nederlands.ly c d e f g a bes b -is -es
164 english.ly c d e f g a bf b -s/-sharp -f/-flat
165 deutsch.ly c d e f g a b h -is -es
166 norsk.ly c d e f g a b h -iss/-is -ess/-es
167 svenska.ly c d e f g a b h -iss -ess
168 italiano.ly do re mi fa sol la sib si -d -b
169 catalan.ly do re mi fa sol la sib si -d/-s -b
177 The optional octave specification takes the form of a series of
178 single quote (`@code{'}') characters or a series of comma
179 (`@code{,}') characters. Each @code{'} raises the pitch by one
180 octave; each @code{,} lowers the pitch by an octave.
182 @lilypond[fragment,verbatim,center]
183 c' c'' es' g' as' gisis' ais'
186 @c . {Defining pitch names}
187 @node Defining pitch names
188 @subsection Defining pitch names
190 @cindex defining pitch names
191 @cindex pitch names, defining
193 Note names and chord modifiers can be customized for nationalities. The
194 syntax is as follows.
196 @cindex @code{\pitchnames}
197 @cindex @code{\chordmodifiers}
199 \pitchnames @var{scheme-alist}
200 \chordmodifiers @var{scheme-alist}
203 See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
204 specific examples how to do this.
210 @subsection Durations
214 @cindex @code{\duration}
216 The syntax for a verbose duration specification is
218 \duration @var{scmduration}
220 Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
221 @ref{Duration} for more information.
224 In Note, Chord, and Lyrics mode, durations may be designated by numbers
225 and dots: durations are entered as their reciprocal values. For notes
226 longer than a whole you must use identifiers.
230 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
232 r1 r2 r4 r8 r16 r32 r64 r64
238 \notes \relative c'' {
240 a1 a2 a4 a8 a16 a32 a64 a64
242 r1 r2 r4 r8 r16 r32 r64 r64
247 \remove "Clef_engraver"
248 \remove "Staff_symbol_engraver"
249 \remove "Time_signature_engraver"
250 \consists "Pitch_squash_engraver"
256 To get a longa note head, you have to use mensural note heads. This
257 is accomplished by setting the @code{style} property of the
258 NoteHead grob to @code{mensural}.
260 @lilypond[fragment,singleline,verbatim]
261 \property Voice.NoteHead \set #'style = #'mensural
265 If the duration is omitted then it is set to the previous duration
266 entered. At the start of parsing a quarter note is assumed. The
267 duration can be followed by dots (`@code{.}') to obtain dotted note
271 @lilypond[fragment,verbatim,center]
277 You can alter the length of duration by a fraction @var{N/M} by
278 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
279 will not affect the appearance of the notes or rests produced.
285 A note specification has the form
288 @var{pitch}[!][?][@var{duration}]
291 The alteration refers to what note is heard, not to whether an
292 accidental is printed. This is done depending on the key and context.
293 A reminder accidental
294 @cindex reminder accidental
296 can be forced by adding an exclamation mark @code{!} after the pitch. A
297 cautionary accidental,
298 @cindex cautionary accidental
299 i.e., an accidental within parentheses can be obtained by adding the
300 question mark `@code{?}' after the pitch.
302 @lilypond[fragment,verbatim,center]
303 cis' d' e' cis' c'? d' e' c'!
307 @node Easy Notation note heads
308 @subsection Easy Notation note heads
310 @cindex easy notation
313 A entirely different type of note head is the "easyplay" note head: a
314 note head that includes a note name. It is used in some publications by
315 Hal-Leonard Inc. music publishers.
317 @lilypond[singleline,verbatim]
318 \include "paper23.ly"
320 \notes { c'2 e'4 f' | g'1 }
321 \paper { \translator { \EasyNotation } }
325 Note that @code{EasyNotation} overrides a @code{Score} context. You
326 probably will want to print it with magnification to make it better
327 readable, see @ref{Output scaling}.
333 If you view the result with Xdvi, then staff lines will show through the
334 letters. Printing the postscript file obtained either by using dvips or
335 the @code{-f ps} option of lilypond produces the correct result.
345 A tie connects two adjacent note heads of the same pitch. When used
346 with chords, it connects all the note heads whose pitches match.
347 Ties are indicated using the tilde symbol `@code{~}'. If you try to tie
348 together chords which have no common pitches then no ties will be
351 @lilypond[fragment,verbatim,center]
352 e' ~ e' <c' e' g'> ~ <c' e' g'>
355 If you dislike the amount of ties created for a chord, you set
356 @code{Voice.sparseTies} to true, resulting in a smaller number of
358 @lilypond[fragment,verbatim,center]
359 \property Voice.sparseTies = ##t
360 <c' e' g'> ~ <c' e' g'>
363 In its meaning a tie is just a way of extending a note duration, similar
364 to the augmentation dot: the following example are two ways of notating
365 exactly the same concept.
367 @lilypond[fragment, singleline]
371 The name of the tie grob is @code{Voice.Tie}.
375 At present, the tie is implemented as a separate thing, temporally
376 located in between the notes. There is also no way to convert
377 between tied notes, dotted notes and plain notes.
379 Tieing only a subset of the note heads of a chord is not supported in a
380 simple way. It can be achieved by moving the tie-engraver into the Thread
381 context and turning on and off ties per Thread.
389 @cindex @code{\times}
391 Tuplets are made out of a music expression by multiplying their duration
394 @cindex @code{\times}
396 \times @var{fraction} @var{musicexpr}
399 The duration of @var{musicexpr} will be multiplied by the fraction.
400 In print, the fraction's denominator will be printed over the notes,
401 optionally with a bracket. The most common tuplet is the triplet in
402 which 3 notes have the length of 2, so the notes are 2/3 of
403 their written length:
405 @lilypond[fragment,verbatim,center]
406 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
409 The property @code{tupletSpannerDuration} specifies how long each bracket
410 should last. With this, you can make lots of tuplets while typing
411 @code{\times} only once, thus saving typing work.
413 @lilypond[fragment, relative, singleline, verbatim]
414 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
415 \times 2/3 { c''8 c c c c c }
418 The format of the number is determined by the property
419 @code{tupletNumberFormatFunction}. The default prints only the
420 denominator, but if you set it to the Scheme function
421 @code{fraction-tuplet-formatter} will print @var{num}:@var{den} instead.
423 @cindex @code{tupletNumberFormatFunction}
424 @cindex tuplet formatting
426 Tuplet brackets are printed as @code{TupletBracket} grobs
434 Rests are entered like notes, with note name `@code{r}'. The grob is
435 @code{Rest}. Whole bar rests centered in the bar are specified using
436 @code{R}, see @ref{Multi measure rests}.
451 Skips the amount of time specified by @var{duration}. If no other music
452 is played, a gap will be left for the skipped time without any notes
453 printed. The shorthand is only available in Note and Chord mode.
458 @section Staff notation
460 @cindex Staff notation
472 @subsection Key signature
477 Changing the key signature is done with the @code{\key} command.
479 @code{\key} @var{pitch} @var{type}
482 @cindex @code{\minor}
483 @cindex @code{\major}
484 @cindex @code{\minor}
485 @cindex @code{\ionian}
486 @cindex @code{\locrian}
487 @cindex @code{\aeolian}
488 @cindex @code{\mixolydian}
489 @cindex @code{\lydian}
490 @cindex @code{\phrygian}
491 @cindex @code{\dorian}
493 Here, @var{type} should be @code{\major} or @code{\minor} to get
494 @var{pitch}-major or @var{pitch}-minor, respectively.
495 The standard mode names @code{\ionian},
496 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
497 @code{\phrygian}, and @code{\dorian} are also defined.
499 This command sets the context property @code{Staff.keySignature}.
500 Non-standard key signatures can be specified by setting this property
501 directly, see the generated documentation.
503 The printed signature is a @code{KeySignature} grob.
505 @cindex @code{keySignature}
512 \clef @var{clefname} @code{;}
518 \property Staff.clefGlyph = @var{glyph associated with clefname}
519 \property Staff.clefPosition = @var{clef Y-position for clefname}
520 \property Staff.clefOctavation = @var{extra transposition of clefname}
523 Any change in these properties creates a clef (a @code{Clef} grob).
525 Supported clef-names include
528 @item treble, violin, G, G2
552 By adding @code{_8} or @code{^8} to the clef name, the clef is
553 transposed one octave down or up, respectively.
555 Supported associated glyphs (for @code{Staff.clefGlyph}) are:
564 @item clefs-vaticana_do
565 Editio Vaticana style do clef
566 @item clefs-vaticana_fa
567 Editio Vaticana style fa clef
568 @item clefs-medicaea_do
569 Editio Medicaea style do clef
570 @item clefs-medicaea_fa
571 Editio Medicaea style fa clef
572 @item clefs-mensural1_c
573 modern style mensural C clef
574 @item clefs-mensural2_c
575 historic style small mensural C clef
576 @item clefs-mensural3_c
577 historic style big mensural C clef
578 @item clefs-mensural1_f
579 historic style traditional mensural F clef
580 @item clefs-mensural2_f
581 historic style new mensural F clef
582 @item clefs-mensural_g
583 historic style mensural G clef
584 @item clefs-hufnagel_do
585 historic style hufnagel do clef
586 @item clefs-hufnagel_fa
587 historic style hufnagel fa clef
588 @item clefs-hufnagel_do_fa
589 historic style hufnagel combined do/fa clef
590 @item clefs-percussion
591 modern style percussion clef
594 @emph{Modern style} means ``as is typeset in current editions.''
595 @emph{Historic style} means ``as was typeset or written in contemporary
596 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
599 @cindex Vaticana, Editio
600 @cindex Medicaea, Editio
601 @cindex hufnagel clefs
604 @c . {Time signature}
606 @subsection Time signature
607 @cindex Time signature
611 The time signature is changed by the @code{\time} command. Syntax:
613 \time @var{n}@code{/}@var{d}
615 Internally, this is a shortcut for doing
617 \property Score.timeSignatureFraction = #'(@var{n} . @var{d})
618 \property Score.beatLength = #(make-moment 1 @var{d})
619 \property Score.measureLength = #(make-moment @var{n} @var{d})
622 These properties @code{timeSignatureFraction} determine where bar lines
623 should be inserted, and how automatic beams should be
626 Changing the value of @code{timeSignatureFraction} also causes a
627 fraction to be printed. This grob is @code{TimeSignature}. There are
628 many options for the layout of this grob. They are selected through the
629 @code{style} grob property. See @file{input/test/time.ly} for examples.
636 @cindex partial measure
637 @cindex measure, partial
638 @cindex shorten measures
639 @cindex @code{\partial}
641 Partial measures, for example in upbeats, are entered using the
642 @code{\partial} command:
644 \partial @var{duration}
647 Internally, this is a shortcut for
650 \property Score.measurePosition = -@var{length of duration}
654 The property @code{measurePosition} contains a rational number
655 indicating how much of the measure has passed at this point.
658 @node Unmetered music
659 @subsection Unmetered music
661 Bar lines and bar numbers are calculated automatically. For unmetered
662 music (e.g. cadenzas), this is not desirable. The property
663 @code{Score.timing} can be used to switch off this automatic timing
665 @lilypond[fragment,relative,singleline,verbatim]
667 \property Score.timing = ##f
669 \property Score.timing = ##t
673 The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
674 achieve the same effect.
680 @subsection Bar lines
684 @cindex measure lines
691 This is a shortcut for doing
693 \property Score.whichBar = @var{bartype}
696 You are encouraged to use @code{\repeat} for repetitions. See
700 @cindex Bar_line_engraver
702 @cindex repeatCommands
703 @cindex defaultBarType
705 Whenever @code{whichBar} is set to a string, a bar line of that type is
706 created. @code{whichBar} is usually set automatically: at the start of
707 a measure it is set to @code{defaultBarType}. The contents of
708 @code{repeatCommands} is used to override default measure bars.
710 @code{whichBar} can also be set directly, using @code{\property} or
711 @code{\bar }. These settings take precedence over the automatic
712 @code{whichBar} settings.
714 @code{Bar_engraver} creates @code{BarLine} grobs.
721 Polyphonic parts, i.e. parts with more than one voice on a staff can be
722 typeset with LilyPond. To use this, instantiate a separate Voice
723 context for each part, and assign a stem direction to each part.
724 @lilypond[fragment,verbatim]
726 < \context Voice = VA { \stemUp b'4 a' g' f' e' }
727 \context Voice = VB { \stemDown g'4 g' g' g' g' } >
730 When there are more than two voices on a staff, you must also indicate
731 which voice should moved horizontally in case of a collision. This can
732 be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
733 @code{\shiftOnn}, etc. (which sets the grob property @code{horizontal-shift}
734 in @code{NoteColumn}).
736 @lilypond[fragment, verbatim]
737 \context Staff \notes\relative c''<
744 \context Voice=three {
745 \shiftOnn \stemUp ais
747 \context Voice=four {
748 \shiftOnnn \stemUp fis
753 The most convenient way is to use the identifiers @code{\voiceOne}
754 through @code{\voiceFour}, which also set slur and tie directions in the
757 @lilypond[singleline, verbatim]
759 \context Staff < \context Voice = VA { \voiceOne cis2 b }
760 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
761 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
764 Normally, note heads with a different number of dots are not merged, but
765 if you set the grob property @code{merge-differently-dotted}, they are:
767 @lilypond[verbatim,fragment,singleline]
769 \context Voice = VA { \voiceOne
771 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t
774 \context Voice = VB { \voiceTwo [g'8. f16] [g'8. f'16] }
778 LilyPond also vertically shifts rests that are opposite of a stem.
780 @lilypond[singleline,verbatim]
782 \context Voice { \stemUp c''4 }
783 \context Voice =VB { r4 }
787 Note head collisions (horizontal shifting of note heads) are handled by
788 the @code{NoteCollision} grob. @code{RestCollision} handles vertical
791 @cindex @code{NoteCollision}
792 @cindex @code{RestCollision}
797 Resolving collisions is a very intricate subject, and LilyPond only
798 handles a few situations. When it can not cope, you are advised to use
799 @code{force-hshift} of the NoteColumn grob and @code{staff-position} of
800 the Rest grob to override typesetting decisions.
805 Beams are used to group short notes into chunks that are aligned with
806 the metrum. LilyPond guesses where beams should be inserted. If you're
807 not satisfied with the automatic beaming, you can specify which patterns
808 to beam automatically. In specific cases, you can also enter the beams
812 @c . {Automatic beams}
813 @subsection Automatic beams
815 @cindex @code{Voice.autoBeamSettings}
816 @cindex @code{(end * * * *)}
817 @cindex @code{(begin * * * *)}
820 In normal time signatures, automatic beams can start on any note but can
821 only end in a few positions within the measure: beams can end on a beat,
822 or at durations specified by the properties in
823 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
824 are defined in @file{scm/auto-beam.scm}.
826 The value of @code{autoBeamSettings} is changed using
827 @code{\override} and unset using @code{\revert}:
829 \property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P} @var{Q}) = @var{dur}
830 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{N} @var{M} @var{P} @var{Q})
832 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
833 whether the rule applies to begin or end-points. The quantity
834 @var{N}/@var{M} refers to a time signature (wildcards, `@code{* *}' may
835 be entered to designate all time signatures), @var{P}/@var{Q} refers to
836 the length of the beamed notes (and `@code{* *}' designates notes of any
839 For example, if you want automatic beams to end on every quarter note,
840 you can use the following:
842 \property Voice.autoBeamSettings \override
843 #'(end * * * *) = #(make-moment 1 4)
845 Since the duration of a quarter note is 1/4 of a whole note, it is
846 entered as @code{(make-moment 1 4)}.
848 The same syntax can be used to specify beam starting points. In this
849 example, automatic beams can only end on a dotted quarter note.
851 \property Voice.autoBeamSettings \override
852 #'(end * * * *) = #(make-moment 3 8)
854 In 4/4 time signature, this means that automatic beams could end only on
855 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
856 3/8 has passed within the measure).
858 You can also restrict rules to specific time signatures. A rule that
859 should only be applied in @var{N}/@var{M} time signature is formed by
860 replacing the first asterisks by @var{N} and @var{M}. For example, a
861 rule for 6/8 time exclusively looks like
863 \property Voice.autoBeamSettings \override
864 #'(begin 6 8 * *) = ...
867 If you want a rule to apply to certain types of beams, you can use the
868 second pair of asterisks. Beams are classified according to the shortest
869 note they contain. For a beam ending rule that only applies to beams
870 with 32nd notes (and no shorter notes), you would use @code{(end * * 1
874 @c Automatic beams can not be put on the last note in a score.
876 If a score ends while an automatic beam has not been ended and is still
877 accepting notes, this last beam will not be typeset at all.
879 @cindex automatic beam generation
881 @cindex @code{Voice.noAutoBeaming}
883 Automatic beaming is on by default, but can be switched off by setting
884 @code{Voice.noAutoBeaming} to true. You you may find this necessary for
885 a melody that goes with lyrics.
889 It is not possible to specify beaming parameters for beams with mixed
890 durations, that differ from the beaming parameters of all separate
891 durations, i.e., you'll have to specify manual beams to get:
892 @lilypond[fragment,singleline,relative]
893 \property Voice.autoBeamSettings
894 \override #'(end * * * *) = #(make-moment 3 8)
895 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
898 It is not possible to specify beaming parameters that act differently in
899 different parts of a measure. This means that it is not possible to use
900 automatic beaming in irregular meters such as @code{5/8}.
903 @cindex Automatic beams
904 @subsection Manual beams
905 @cindex beams, manual
909 In some cases it may be necessary to override LilyPond's automatic
910 beaming algorithm. For example, the auto beamer will not beam over
911 rests or bar lines, If you want that, specify the begin and end point
912 manually using a @code{[} before the first beamed note and a @code{]}
915 @lilypond[fragment,relative,verbatim]
917 r4 [r8 g'' a r8] r8 [g | a] r8
920 Whenever an manual beam is busy, the automatic beamer will not produce
923 @cindex @code{stemLeftBeamCount}
925 Normally, beaming patterns within a beam are determined automatically.
926 When this mechanism fouls up, the properties
927 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount}. can
928 be used to control the beam subdivision on a stem. If you set either
929 property, it's value will be used only once, and then it is erased.
931 @lilypond[fragment,relative,verbatim]
934 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
937 @cindex @code{stemRightBeamCount}
939 The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
940 beams) can be tweaked through grob-properties @code{height} and
941 @code{staff-position}. These specify vertical location and vertical
942 span. Both are measured in half staff-spaces, @code{staff-position=0}
943 corresponds to the middle staff line.
946 Set @code{height} to zero, to get horizontal beams:
948 @lilypond[fragment,relative,verbatim]
949 \property Voice.Beam \set #'direction = #1
950 \property Voice.Beam \set #'height = #0
954 Here's how you'd specify a weird looking beam that instead of being
955 horizontal, falls two staff spaces:
957 @lilypond[fragment,relative,verbatim]
958 \property Voice.Beam \set #'staff-position = #4
959 \property Voice.Beam \set #'height = #-4
962 @cindex @code{default-neutral-direction}
964 @node Expressive marks
965 @section Expressive marks
980 A slur indicates that notes are to be played bound or @emph{legato}.
981 They are entered using parentheses:
983 @lilypond[fragment,verbatim,center]
984 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
988 Slurs avoid crossing stems, and are generally attached to note heads.
989 However, in some situations with beams, slurs may be attached to stem
990 ends. If you want to override this layout you can do this through the
991 @code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
992 pair of symbols, specifying the attachment type of the left and right end points.
994 @lilypond[fragment,relative,verbatim]
995 \property Voice.Slur \set #'direction = #1
996 \property Voice.Stem \set #'length = #5.5
998 \property Voice.Slur \set #'attachment = #'(stem . stem)
1002 If a slur would strike through a stem or beam, the slur will be moved
1003 away upward or downward. If this happens, attaching the slur to the
1004 stems might look better:
1006 @lilypond[fragment,relative,verbatim]
1007 \property Voice.Stem \set #'direction = #1
1008 \property Voice.Slur \set #'direction = #1
1010 \property Voice.Slur \set #'attachment = #'(stem . stem)
1015 Similarly, the curvature of a slur is adjusted to stay clear of note
1016 heads and stems. When that would increase the curvature too much, the
1017 slur is reverted to its default shape. The threshold for this decision
1018 is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
1019 related to the enclosed area between the slur and the notes. Usually,
1020 the default setting works well, but in some cases you may prefer a
1021 curved slur when LilyPond decides for a vertically moved one. You can
1022 indicate this preference by increasing the @code{beautiful} value:
1024 @lilypond[verbatim,singleline,relative]
1025 \property Voice.Beam \override #'direction = #-1
1026 \property Voice.Slur \override #'direction = #1
1027 c'16( a' f' a a f a, )c,
1028 c( a' f' a a f d, )c
1029 \property Voice.Slur \override #'beautiful = #5.0
1030 c( a' f' a a f d, )c
1035 @code{beautiful} is an arbitrary parameter in the slur formatter.
1036 Useful values can only be determined by trial and error.
1038 @cindex Adjusting slurs
1041 @subsection Phrasing slur
1043 @cindex phrasing slur
1044 @cindex phrasing mark
1046 A phrasing slur (or phrasing mark) connects chords and is used to
1047 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1050 @lilypond[fragment,verbatim,center,relative]
1051 \time 6/4 c''\((d)e f(e)\)d
1054 Typographically, the phrasing slur behaves almost exactly like a normal
1055 slur. The grob associated with it is @code{Voice.PhrasingSlur}.
1058 @subsection Breath marks
1060 Breath marks are entered using @code{\breathe}. The result is a
1061 @code{Voice.BreathingSign} grob.
1063 @lilypond[fragment,relative]
1072 Currently, only tick marks are supported, not comma style breath marks.
1079 @cindex beats per minute
1080 @cindex metronome marking
1082 Metronome settings can be entered as follows:
1084 @cindex @code{\tempo}
1086 \tempo @var{duration} = @var{perminute}
1089 For example, @code{\tempo 4 = 76;} requests output with 76 quarter notes
1094 The tempo setting is not printed, but is only used in the MIDI
1095 output. You can trick lily into producing a metronome mark,
1096 though. Details are in @ref{Text markup}.
1101 @subsection Text spanner
1102 @cindex Text spanner
1104 Some textual indications, e.g. rallentando, accelerando, often extend
1105 over many measures. This is indicated by following the text with a
1106 dotted line. You can create such texts using text spanners. The syntax
1109 \spanrequest \start "text"
1110 \spanrequest \stop "text"
1112 LilyPond will respond by creating a @code{Voice.TextSpanner} grob. The
1113 string to be printed, as well as the style is set through grob
1116 An application---or rather, a hack---is to fake octavation indications.
1117 @lilypond[fragment,relative,verbatim]
1118 \relative c' { a''' b c a
1119 \property Voice.TextSpanner \set #'type = #'dotted-line
1120 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1121 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1122 \property Staff.centralCPosition = #-13
1123 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1141 @subsection Articulation
1142 @cindex Articulation
1144 @cindex articulations
1148 A variety of symbols can appear above and below notes to indicate
1149 different characteristics of the performance. These symbols can be
1150 added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
1151 are defined in @file{script.ly}. Symbols can be forced to appear above
1152 or below the note by writing `@var{note}@code{^\}@var{name}' and
1153 `@var{note}@code{_\}@var{name}' respectively. Here is a chart showing
1154 symbols on notes, with the name of the corresponding symbol appearing
1160 \property Score.LyricSyllable \override #'font-family =#'typewriter
1161 \property Score.LyricSyllable \override #'font-shape = #'upright
1162 \context Staff \notes {
1163 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1164 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1165 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1166 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1167 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1168 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1169 c''-\thumb c''-\segno c''-\coda
1171 \context Lyrics \lyrics {
1172 accent__ marcato__ staccatissimo__ fermata
1173 stopped__ staccato__ tenuto__ upbow
1174 downbow__ lheel__ rheel__ ltoe
1175 rtoe__ turn__ open__ flageolet
1176 reverseturn__ trill__ prall__ mordent
1177 prallprall__ prallmordent__ uprall__ downprall
1178 thumb__ segno__ coda
1182 linewidth = 5.875\in
1188 To save typing work, some shorthands are available:
1189 @lilypond[singleline]
1191 \notes \context Voice {
1192 \property Voice.TextScript \set #'font-family = #'typewriter
1193 \property Voice.TextScript \set #'font-shape = #'upright
1199 c''4-^_"c-\\^{ }" s4
1206 Fingering instructions can also be entered in this shorthand.
1207 @lilypond[verbatim, singleline, fragment]
1208 c'4-1 c'4-2 c'4-3 c'4-4
1212 @cindex @code{\script}
1217 You can add scripts by editing @file{scm/script.scm}. This file contains
1218 a table, listing script definitions and aliases. The following syntax
1219 accesses a script definition from the table:
1225 Usually the @code{\script} keyword is not used directly. Various
1226 helpful identifier definitions appear in @file{script.ly}.
1228 Grobs for these objects are @code{Script} and @code{Fingering}.
1232 All of these note ornaments appear in the printed output but have no
1233 effect on the MIDI rendering of the music.
1235 Unfortunately, there is no support for adding fingering instructions or
1236 ornaments to individual note heads. Some hacks exist, though. See
1237 @file{input/test/script-horizontal.ly}.
1242 @subsection Text scripts
1243 @cindex Text scripts
1245 In addition, it is possible to place arbitrary strings of text or markup
1246 text (see @ref{Text markup}) above or below notes by using a string:
1249 By default, these indications do not influence the note spacing, but
1250 if @code{Voice.textNonEmpty} is set to true the widths will be taken
1251 into account. The identifier @code{\fatText} is defined in the standard
1253 @lilypond[fragment,singleline,verbatim]
1254 \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
1257 Text scripts are created in form of @code{Voice.TextScript} grobs.
1259 @ref{Text markup} describes how to change the font or access
1260 special symbols in text scripts.
1264 @subsection Grace notes
1273 @cindex @code{\grace}
1276 @cindex @code{graceAlignPosition}
1278 Grace notes are ornaments that are written out, but do not take up any
1279 logical time in a measure. LilyPond has limited support for grace notes.
1280 The syntax is as follows.
1282 \grace @var{musicexpr}
1285 When grace music is interpreted, a score-within-a-score is set up:
1286 @var{musicexpr} has its own time bookkeeping, and you could (for
1287 example) have a separate time signature within the grace notes. While in
1288 this score-within-a-score, you can create notes, beams, slurs, etc.
1289 Unbeamed eighth notes and shorter by default have a slash through the
1292 @lilypond[fragment,verbatim]
1294 \grace c8 c4 \grace { [c16 c16] } c4
1295 \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
1300 A grace note expression has duration 0; the next real note is assumed to
1301 be the main note. If you want the note to appear after the main note,
1302 set @code{Voice.graceAlignPosition} to @code{1}.
1306 At present, slurs or ties from the grace notes to the following notes
1307 are not supported. Also, nesting @code{\grace} notes is not
1308 supported. The following may cause run-time errors:
1310 @code{\grace @{ \grace c32 c16 @} c4}
1312 Since the meaning of such a construct is unclear, we don't consider this
1313 a loss. Similarly, juxtaposing two @code{\grace} sections is
1314 syntactically valid, but makes no sense and may cause runtime errors.
1315 Ending a staff or score with grace notes may also generate a run-time
1316 error, since there will be no main note to attach the grace notes to.
1318 The present implementation of grace notes is not robust and generally
1319 kludgey. We expect it to change after LilyPond 1.4. Syntax changes might
1320 also be implemented.
1331 @subsection Glissando
1334 @cindex @code{\glissando}
1336 A glissando line (grob @code{Voice.Glissando}) can be requested by attaching a
1337 @code{\glissando} to a note:
1339 @lilypond[fragment,relative,verbatim]
1345 Printing of an additional text (such as @emph{gliss.}) must be done
1352 @subsection Dynamics
1365 @cindex @code{\ffff}
1375 Absolute dynamic marks are specified using an identifier after a
1376 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1377 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1378 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1379 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1381 @lilypond[verbatim,singleline,fragment,relative]
1382 c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1388 @cindex @code{\decr}
1389 @cindex @code{\rced}
1395 A crescendo mark is started with @code{\cr} and terminated with
1396 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1397 started with @code{\decr} and terminated with @code{\rced}. There are
1398 also shorthands for these marks. A crescendo can be started with
1399 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1400 can be terminated with @code{\!}. Note that @code{\!} must go before
1401 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1402 after the last note. Because these marks are bound to notes, if you
1403 want several marks during one note, you have to use spacer notes.
1405 @lilypond[fragment,verbatim,center]
1406 c'' \< \! c'' d'' \decr e'' \rced
1407 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1410 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1411 is an example how to do it:
1416 @lilypond[fragment,relative,verbatim]
1418 \property Voice.crescendoText = "cresc."
1419 \property Voice.crescendoSpanner = #'dashed-line
1424 For everyday use, we recommend the identifiers @code{\cresc},
1425 @code{endcresc}, @code{\dim} and @code{\enddim}.
1429 Dynamics are grobs of @code{Voice.DynamicText} and
1430 @code{Voice.Hairpin}. They are put together on
1431 @code{Voice.DynamicLineSpanner} to align them vertically.
1440 @cindex @code{\repeat}
1442 To specify repeats, use the @code{\repeat} keyword. Since repeats
1443 should work differently when played or printed, there are a few
1444 different variants of repeats.
1448 Repeated music is fully written (played) out. Useful for MIDI
1449 output, and entering repetitive music.
1452 This is the normal notation: Repeats are not written out, but
1453 alternative endings (voltas) are printed, left to right.
1456 Alternative endings are written stacked. This has limited use but may be
1457 used to typeset two lines of lyrics in songs with repeats, see
1458 @file{input/star-spangled-banner.ly}.
1464 Make measure repeats. These look like percent signs.
1470 * Manual repeat commands::
1472 * Tremolo subdivision::
1477 @subsection Repeat syntax
1479 The syntax for repeats is
1482 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
1485 If you have alternative endings, you may add
1486 @cindex @code{\alternative}
1488 \alternative @code{@{} @var{alternative1}
1490 @var{alternative3} @dots{} @code{@}}
1492 where each @var{alternative} is a music expression.
1494 Normal notation repeats are used like this:
1495 @lilypond[fragment,verbatim]
1497 \repeat volta 2 { c'4 d' e' f' }
1498 \repeat volta 2 { f' e' d' c' }
1501 With alternative endings:
1502 @lilypond[fragment,verbatim]
1504 \repeat volta 2 {c'4 d' e' f'}
1505 \alternative { {d'2 d'} {f' f} }
1508 Folded repeats look like this:
1511 @lilypond[fragment,verbatim]
1513 \repeat fold 2 {c'4 d' e' f'}
1514 \alternative { {d'2 d'} {f' f} }
1518 If you don't give enough alternatives for all of the repeats, then
1519 the first alternative is assumed to be repeated often enough to equal
1520 the specified number of repeats.
1522 @lilypond[fragment,verbatim]
1526 \repeat volta 4 { e | c2 d2 | e2 f2 | }
1527 \alternative { { g4 g g } { a | a a a a | b2. } }
1534 Notice that timing information is not remembered at the start of an
1535 alternative, so you have to reset timing information after a repeat,
1536 e.g. using a bar-check (See @ref{Bar check}), setting
1537 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
1538 are also not repeated.
1540 It is possible to nest @code{\repeat}s, although this probably is only
1541 meaningful for unfolded repeats.
1543 Folded repeats offer little more over simultaneous music. However, it
1544 is to be expected that more functionality -- especially for the MIDI
1545 backend -- will be implemented at some point in the future.
1547 Volta repeats are printed over all staffs in a score. You must turn them
1548 off explicitly, for example by doing
1550 \property Staff.VoltaBracket = \turnOff
1553 @node Manual repeat commands
1554 @subsection Manual repeat commands
1556 @cindex @code{repeatCommands}
1558 The property @code{repeatCommands} can be used to control the layout of
1559 repeats. Its value is a Scheme list of repeat commands, where each repeat
1567 @item (volta . @var{text})
1568 Print a volta bracket saying @var{text}.
1570 Stop a running volta bracket
1573 @lilypond[verbatim, fragment]
1575 \property Score.repeatCommands = #'((volta "93") end-repeat)
1577 \property Score.repeatCommands = #'((volta #f))
1582 Repeats brackets are @code{Staff.VoltaBracket} grobs.
1584 @node Tremolo repeats
1585 @subsection Tremolo repeats
1586 @cindex tremolo beams
1588 To place tremolo marks between notes, use @code{\repeat} with tremolo
1590 @lilypond[verbatim,center,singleline]
1592 \context Voice \notes\relative c' {
1593 \repeat "tremolo" 8 { c16 d16 }
1594 \repeat "tremolo" 4 { c16 d16 }
1595 \repeat "tremolo" 2 { c16 d16 }
1596 \repeat "tremolo" 4 c16
1601 Tremolo beams are @code{Voice.Beam} grobs. Single stem tremolos are
1602 @code{Voice.StemTremolo}.
1607 At present, the spacing between tremolo beams is not regular, since the
1608 spacing engine does not notice that not all notes are printed.
1610 @node Tremolo subdivision
1611 @subsection Tremolo subdivision
1612 @cindex tremolo marks
1613 @cindex @code{tremoloFlags}
1615 Tremolo marks can be printed on a single note by adding
1616 `@code{:}[@var{length}]' after the note. The length must be at least 8.
1617 A @var{length} value of 8 gives one line across the note stem. If the
1618 length is omitted, then then the last value (stored in
1619 @code{Voice.tremoloFlags}) is used.
1621 @lilypond[verbatim,fragment,center]
1622 c'2:8 c':32 | c': c': |
1624 Using this mechanism pays off when you enter many tremolos, since the
1625 default argument saves typing.
1630 Tremolos in this style do not carry over into the MIDI output.
1633 @node Measure repeats
1634 @subsection Measure repeats
1636 @cindex percent repeats
1637 @cindex measure repeats
1639 In the @code{percent} style, a note pattern can be repeated. It is
1640 printed once, and then the pattern is replaced with a special sign.
1641 Patterns of a one and two measures are replaced by percent signs,
1642 patterns that divide the measure length are replaced by slashes.
1644 @lilypond[verbatim,singleline]
1645 \context Voice { \repeat "percent" 4 { c'4 }
1646 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
1650 The signs are represented by these grobs: @code{Voice.RepeatSlash} and
1651 @code{Voice.PercentRepeat} and @code{Voice.DoublePercentRepeat}.
1655 You can not nest percent repeats, e.g. by filling in the first measure
1656 with slashes, and repeating that measure with percents.
1658 @node Rhythmic music
1659 @section Rhythmic music
1666 @node Rhythmic staffs
1667 @subsection Rhythmic staffs
1669 Sometimes you might want to show only the rhythm of a melody. This can
1670 be done with the rhythmic staff. All pitches of notes on such a staff
1671 are squashed, and the staff itself looks has a single staff line:
1673 @lilypond[fragment,relative,verbatim]
1674 \context RhythmicStaff {
1676 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
1683 @section Piano music
1685 Piano music is an odd type of notation. Piano staffs are two normal
1686 staffs coupled with a brace. The staffs are largely independent, but
1687 sometimes voices can cross between the two staffs. The
1688 @code{PianoStaff} is especially built to handle this cross-staffing
1689 behavior. In this section we discuss the @code{PianoStaff} and some
1690 other pianistic peculiarities.
1693 * Automatic staff changes::
1694 * Manual staff switches::
1697 * Voice follower line::
1701 @c . {Automatic staff changes}
1702 @node Automatic staff changes
1703 @subsection Automatic staff changes
1704 @cindex Automatic staff changes
1706 Voices can switch automatically between the top and the bottom
1707 staff. The syntax for this is
1709 \autochange @var{contexttype} @var{musicexp}
1711 This will switch the interpretation context of @var{musicexp} between a
1712 @var{contexttype} named @code{up} and @code{down}. Typically, you use
1713 @code{Staff} for @var{contexttype}. The autochanger switches on basis
1714 of pitch (central C is the turning point), and it looks ahead skipping
1715 over rests to switch rests in advance.
1717 @lilypond[verbatim,singleline]
1718 \score { \notes \context PianoStaff <
1719 \context Staff = "up" {
1720 \autochange Staff \context Voice = VA < \relative c' {
1721 g4 a b c d r4 a g } > }
1722 \context Staff = "down" {
1728 Note how spacer rests are used to prevent the bottom staff from
1729 terminating too soon.
1732 @node Manual staff switches
1733 @subsection Manual staff switches
1735 @cindex manual staff switches
1736 @cindex staff switch, manual
1738 Voices can be switched between staffs manually, using the following command:
1740 \translator Staff = @var{staffname} @var{music}
1742 The string @var{staffname} is the name of the staff. It switches the
1743 current voice from its current staff to the Staff called
1744 @var{staffname}. Typically @var{staffname} is @code{"up"} or
1747 The formal definition of this construct is obtuse, but for the sake of
1748 completeness we give it here.
1749 @cindex @code{\translator}
1751 \translator @var{contexttype} = @var{name}
1753 Formally, this construct is a music expression indicating
1754 that the context which is a direct child of the context of type
1755 @var{contexttype} should be shifted to a context of type
1756 @var{contexttype} and the specified name.
1764 Piano pedal instruction can be expressed using
1765 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
1766 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
1768 These identifiers are shorthands for spanner commands of the types
1769 @code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
1771 @lilypond[fragment,verbatim]
1772 c''4 \spanrequest \start "Sustain" c''4
1773 c''4 \spanrequest \stop "Sustain"
1776 The symbols that are printed can be modified by setting
1777 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal
1778 types. Refer to the generated documentation for more information.
1783 Currently, brackets are not supported, only text markings (i.e. `*Ped'
1789 @subsection Arpeggio
1792 @cindex broken arpeggio
1793 @cindex @code{\arpeggio}
1795 You can specify an arpeggio sign on a chord by attaching an
1796 @code{\arpeggio} to a note of the chord.
1799 @lilypond[fragment,relative,verbatim]
1800 \context Voice <c'\arpeggio e g c>
1803 When an arpeggio crosses staffs in piano music, you attach an arpeggio
1804 to the chords in both staffs, and set
1805 @code{PianoStaff.connectArpeggios}.
1807 @lilypond[fragment,relative,verbatim]
1808 \context PianoStaff <
1809 \property PianoStaff.connectArpeggios = ##t
1810 \context Voice = one { <c''\arpeggio e g c> }
1811 \context Voice = other { \clef bass <c,,\arpeggio e g>}
1815 This command creates @code{Voice.Arpeggio} grobs. Cross staff arpeggios
1816 are @code{PianoStaff.Arpeggio}.
1820 It is not possible to mix connected arpeggios and unconnected arpeggios
1825 @node Voice follower line
1826 @subsection Voice follower line
1828 @cindex follow voice
1829 @cindex staff switching
1832 @cindex @code{followVoice}
1834 Whenever a voice switches to another staff a line connecting the notes
1835 can be printed automatically. This is enabled if the property
1836 @code{PianoStaff.followVoice} is set to true:
1838 @lilypond[fragment,relative,verbatim]
1839 \context PianoStaff <
1840 \property PianoStaff.followVoice = ##t
1841 \context Staff \context Voice {
1843 \translator Staff=two
1846 \context Staff=two {\clef bass \skip 1*2 }
1850 The associated grob is @code{Voice.VoiceFollower}.
1860 * Automatic syllable durations::
1866 @subsection Lyrics mode
1869 To print lyrics, you must first make a music expression from the lyric
1870 text. That music expression can be printed by selecting an appropriate
1874 @cindex @code{\lyrics}
1876 You can enter lyrics in a special input mode of LilyPond. This mode is
1877 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1878 The purpose of this mode is that you can enter lyrics as plain text,
1879 punctuation and accents without any hassle.
1881 Syllables are entered like notes, with pitches replaced by text. For
1882 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1883 the hyphen has no special meaning for lyrics, and does not introduce
1886 Spaces can be introduced into a lyric either by using quotes:
1887 @code{"He could"4 not4} or by using an underscore without quotes:
1888 @code{He_could4 not4}. All unquoted underscores are converted to
1891 The precise definition of this mode is in @ref{Lyrics mode
1894 @c . {Printing lyrics}
1895 @node Printing lyrics
1896 @subsection Printing lyrics
1899 Lyrics are printed by interpreting them in the @code{Lyrics} context.
1901 @lilypond[verbatim,singleline]
1902 \addlyrics \notes \relative c' {
1904 \property Staff.automaticMelismata = ##t
1905 d'2 c4 b16 ( a g a b a b ) c a2
1906 b2 c4 b8 ( a16 g ) a4 g2 }
1907 \context Lyrics \lyrics {
1909 share the soft -- ware; }
1913 Notes and syllable durations are matched automatically. This is
1914 accomplished using @code{\addlyrics}, which is documented in
1915 @ref{Automatic syllable durations}. Setting @code{automaticMelismata} in
1916 the melody staff will cause slurs to be interpreted as melismata.
1918 The Lyric syllables are @code{LyricsVoice.LyricSyllable} grobs.
1921 @cindex lyric extender
1924 As you can see, extender lines are entered as @code{__}. This will
1925 create an extender, a line that extends over the entire duration of the
1926 lyric. This line will run all the way to the start of the next lyric,
1927 so you may want to shorten it by using a blank lyric (using @code{_}).
1928 The grob for this symbol is @code{LyricsVoice.LyricExtender}.
1933 If you want to have hyphens centered between syllables (rather than
1934 attached to the end of the first syllable) you can use the special
1935 `@code{-}@code{-}' lyric as a separate word between syllables. This
1936 will result in a hyphen whose length varies depending on the space
1937 between syllables. It will be centered between the syllables. The grob
1938 for this symbol is @code{LyricsVoice.LyricHyphen}.
1940 @cindex Lyric hyphen
1942 @node Automatic syllable durations
1943 @subsection Automatic syllable durations
1944 @cindex Automatic syllable durations
1946 @cindex automatic lyric durations
1947 @cindex @code{\addlyrics}
1949 If you have lyrics that are set to a melody, you can copy the rhythm
1950 of that melody into the lyrics using @code{\addlyrics}. The syntax for
1953 \addlyrics @var{musicexpr1 musicexpr2}
1956 Both @var{musicexpr1} and @var{musicexpr2} are interpreted, but every
1957 music event (``every syllable'') in @var{musicexpr2} is interpreted only
1958 when there are events in @var{musicexpr1}.
1960 @cindex @code{automaticMelismata}
1962 If the property @code{automaticMelismata} is set in the
1963 context of @var{musicexpr1}, no lyrics will be put on slurred or tied
1966 @lilypond[verbatim,fragment]
1969 \property Voice.automaticMelismata = ##t
1970 c8 () cis d8. e16 f2
1972 \context Lyrics \lyrics {
1976 If you want the lyric lines to be above the melody staff, or in some
1977 other, more complex configuration, then build that configuration first
1978 using simultaneous music, and use @code{\addlyrics} after that.
1980 @lilypond[verbatim, singleline]
1982 \context Lyrics = LA { s1 }
1983 \context Staff = SA { s1 }
1985 \context Staff = SA \relative c' { c4 e g g }
1986 \context Lyrics = LA \lyrics { geen ge -- don -- der } >
1989 For @code{\addlyrics} you should use a single rhythm melody, and single
1990 rhythm lyrics (a constant duration is the obvious choice). If you do
1991 not, you can get undesired effects when using multiple stanzas:
1993 @lilypond[verbatim,fragment]
1996 c8 () cis d8. e16 f2
1998 \context Lyrics \lyrics
2003 It is valid (but probably not very useful) to use notes instead of
2004 lyrics for @var{musicexpr2}.
2007 @subsection More stanzas
2011 If you have multiple stanzas printed underneath each other, the vertical
2012 groups of syllables should be aligned around punctuation. LilyPond can
2013 do this if you tell it which lyric lines belong to which melody.
2015 To this end, give the Voice context an identity, and set the LyricsVoice
2016 to a name starting with that identity followed by a dash.
2017 In the following example, the Voice
2018 identity is @code{duet}, and the identities of the LyricsVoices are
2019 @code{duet-1} and @code{duet-2}.
2022 @lilypond[singleline,verbatim]
2025 \notes \relative c'' \context Voice = duet { \time 3/4
2027 \lyrics \context Lyrics <
2028 \context LyricsVoice = "duet-1" {
2029 \property LyricsVoice . stanza = "Bert"
2030 Hi, my name is bert. }
2031 \context LyricsVoice = "duet-2" {
2032 \property LyricsVoice . stanza = "Ernie"
2033 Ooooo, ch\'e -- ri, je t'aime. }
2038 You can add stanza numbers by setting @code{LyricsVoice.Stanza} (for the
2039 first system) and @code{LyricsVoice.stz} for the following
2040 systems. Notice how you must surround dots with spaces in @code{\lyrics}
2046 @cindex stanza numbering
2054 LilyPond has support for both entering and printing chords. Chords are
2055 characterized by a set of pitches. They are
2056 internally stored as simultaneous music expressions. This means you can
2057 enter chords by name and print them as note head, enter them as notes
2058 and print them as chord names, or (the most common case) enter them by
2059 name, and print them as name.
2062 @lilypond[verbatim,singleline]
2063 twoWays = \notes \transpose c'' {
2073 < \context ChordNames \twoWays
2074 \context Voice \twoWays > }
2077 Note that this example also shows that the chord printing routines do
2078 not attempt to be intelligent. If you enter @code{f bes d}, it does not
2079 interpret this as an inversion.
2083 * Printing named chords::
2088 @subsection Chords mode
2091 Chord mode is a mode where you can input sets of pitches using common
2092 names. It is introduced by the keyword @code{\chords}. It is similar
2093 to note mode, but words are also looked up in a chord modifier table
2094 (containing @code{maj}, @code{dim}, etc).
2096 Dashes and carets are used to indicate chord additions and subtractions,
2097 so articulation scripts can not be entered in Chord mode.
2099 The syntax for named chords is as follows:
2101 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2104 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2105 the chord duration in the usual notation. There are two kinds of
2106 modifiers. One type is formed by @emph{chord additions}. Additions are
2107 obtained by listing intervals separated by dots. An interval is written
2108 by its number with an optional @code{+} or @code{-} to indicate raising
2109 or lowering by half a step. Chord additions have two effects: they adds
2110 the specified interval and all lower odd numbered intervals to the
2111 chord, and they may lower or raise the specified interval.
2113 Throughout these examples, chords have been shifted around the staff
2114 using @code{\transpose}.
2116 @lilypond[fragment,verbatim]
2120 c:9 c:9-.5+.7+ c:3-.5-
2130 The second type of modifier that may appear after the @code{:} is a
2131 named modifier. Named modifiers are listed in the file
2132 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2133 @code{min} which lower the 3rd half a step, `@code{aug}' which
2134 raises the 5th, `@code{dim}' which lowers the 5th,
2135 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2136 which replaces the 5th with a 4th.
2138 @lilypond[fragment,verbatim]
2141 c1:m c:min7 c:maj c:aug c:dim c:sus
2147 Chord subtractions are used to eliminate notes from a chord. The
2148 notes to be subtracted are listed after a @code{^} character,
2151 @lilypond[fragment,verbatim,center]
2160 Chord inversions can be specified by appending `@code{/}' and the name
2161 of a single note to a chord. In a chord inversion, the inverted note is
2162 transposed down until it is the lowest note in the chord. If the note
2163 is not in the chord, a warning will be printed.
2165 @lilypond[fragment,verbatim,center]
2175 Bass notes can be added by `@code{/+}' and
2176 the name of a single note to a chord. This has the effect of
2177 adding the specified note to the chord, lowered by an octave,
2178 so it becomes the lowest note in the chord.
2180 @lilypond[fragment,verbatim,center]
2191 Implementation details are quite gory. For example @code{c:4} not only
2192 adds a fourth, but also removes the third.
2195 @c . {Printing named chords}
2196 @node Printing named chords
2197 @subsection Printing named chords
2199 @cindex printing chord names
2202 @cindex @code{ChordNames}
2205 For displaying printed chord names, use the @code{ChordNames} context.
2206 The chords may be entered either using the notation described above, or
2207 directly using simultaneous music.
2209 @lilypond[verbatim,singleline]
2211 \chords {a1 b c} <d f g> <e g b>
2215 \context ChordNames \scheme
2216 \context Staff \transpose c'' \scheme
2221 You can make the chord changes stand out by setting
2222 @code{ChordNames.chordChanges} to true. This will only display chord
2223 names when there's a change in the chords scheme and at the start of the
2228 c1:m c:m \break c:m c:m d
2232 \context ChordNames {
2233 \property ChordNames.chordChanges = ##t
2235 \context Staff \transpose c'' \scheme
2239 LilyPond examines chords specified as lists of notes to determine a name
2240 to give the chord. LilyPond will not try to identify chord inversions or
2241 an added bass note, which may result in strange chord names when chords
2242 are entered as a list of pitches:
2244 @lilypond[verbatim,center,singleline]
2253 \context ChordNames \scheme
2254 \context Staff \scheme
2260 By default, a chord name system proposed by Harald Banter (See
2261 @ref{Literature}) is used. The system is very regular and predictable.
2262 Typical American style chord names may be selected by setting the
2263 @code{style} property of the @code{ChordNames.ChordName} grob to
2264 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
2266 Routines that determine the names to be printed are written in Scheme,
2267 and may be customized by the user. The code can be found in
2268 @file{scm/chord-name.scm}. Here's an example showing the differences in
2272 @c maybe just junk verbatim option?
2273 @lilypond[verbatim,singleline]
2283 \context ChordNames = banter \scheme
2284 \context ChordNames = american {
2285 \property ChordNames.ChordName \override
2286 #'style = #'american \scheme }
2287 \context ChordNames = jazz {
2288 \property ChordNames.ChordName \override
2289 #'style = #'jazz \scheme }
2290 \context Staff \transpose c'' \scheme
2297 @section Writing parts
2299 Orchestral music involves some special notation, both in the full score,
2300 as in the individual parts. This section explains how to tackle common
2301 problems in orchestral music.
2308 * Instrument names::
2310 * Sound output for transposing instruments::
2311 * Multi measure rests::
2312 * Automatic part combining::
2313 * Hara kiri staffs::
2316 @c . {Rehearsal marks}
2317 @node Rehearsal marks
2318 @subsection Rehearsal marks
2319 @cindex Rehearsal marks
2321 @cindex @code{\mark}
2322 @cindex @code{Mark_engraver}
2325 \mark @var{unsigned}
2330 This command prints a rehearsal mark above the system. You can provide
2331 a number, a string or a markup text as argument. If you use
2332 @code{\default}, the value of property @code{rehearsalMark} is used and
2333 automatically incremented.
2335 @lilypond[fragment,verbatim]
2341 c1 \mark #'(music "scripts-segno")
2346 The grob is @code{Score.RehearsalMark}. See
2347 @code{input/test/boxed-molecule.ly} if you need boxes around the marks.
2350 @subsection Bar numbers
2352 Bar numbers (grob: @code{BarNumber}) are printed at the start of the
2353 line. See @code{input/test/boxed-molecule.ly} for boxed bar numbers.
2357 It is not possible to have bar numbers printed at regular intervals
2360 @node Instrument names
2361 @subsection Instrument names
2363 You can specify an instrument name for a staff by setting
2364 @code{Staff.instrument} and @code{Staff.instr}. This will print a string
2365 before the start of the staff. For the first start, @code{instrument} is
2366 used, for the next ones @code{instr} is used.
2368 @lilypond[verbatim,singleline]
2369 \property Staff.instrument = "ploink " { c''4 }
2372 You can also use markup texts to construct more complicated instrument
2376 @lilypond[verbatim,singleline]
2378 '((font-relative-size . -2 ) (music "accidentals--1")))
2381 \property Staff.instrument = #`((kern . 0.5) (lines
2382 "2 Clarinetti" (columns " (B" ,text-flat ")")))
2390 When you put a name on a grand staff or piano staff the width of the
2391 brace is not taken into account. You must add extra spaces to the end of
2392 the name to avoid a collision.
2395 @subsection Transpose
2397 @cindex transposition of pitches
2398 @cindex @code{\transpose}
2400 A music expression can be transposed with @code{\transpose}. The syntax
2403 \transpose @var{pitch} @var{musicexpr}
2406 This means that middle C in @var{musicexpr} is transposed to
2409 @code{\transpose} distinguishes between enharmonic pitches: both
2410 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
2411 a tone. The first version will print sharps and the second version
2414 @lilypond[fragment,verbatim]
2417 { \key e \major c d e f }
2419 \transpose des'' { \key e \major c d e f }
2420 \transpose cis'' { \key e \major c d e f }
2424 If you want to use both @code{\transpose} and @code{\relative}, then
2425 you must use @code{\transpose} first. @code{\relative} will have no
2426 effect music that appears inside a @code{\transpose}.
2428 @node Sound output for transposing instruments
2429 @subsection Sound output transposing instruments
2431 When you want to play a score containing transposed and untransposed
2432 instruments, you have to instruct LilyPond the pitch offset (in
2433 semitones) for the transposed instruments. This is done using the
2434 @code{transposing} property. It does not affect printed output.
2436 @cindex @code{transposing}
2439 \property Staff.instrument = #"Cl. in B-flat"
2440 \property Staff.transposing = #-2
2444 @c . {Multi measure rests}
2445 @node Multi measure rests
2446 @subsection Multi measure rests
2447 @cindex Multi measure rests
2451 Multi measure rests are entered using `@code{R}'. It is specifically
2452 meant for full bar rests and for entering parts: the rest can expand to
2454 rests, or it can be printed as a single multimeasure rest This expansion
2455 is controlled by the property @code{Score.skipBars}. If this is set to true,
2456 Lily will not expand empty measures, and the appropriate number is added
2459 @lilypond[fragment,verbatim]
2460 \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
2463 Notice that the @code{R2.} is printed as a whole rest, centered in the
2466 @cindex whole rests for a full measure
2470 Currently, there is no way to condense multiple rests into a single
2473 @cindex condensing rests
2475 @node Automatic part combining
2476 @subsection Automatic part combining
2477 @cindex automatic part combining
2478 @cindex part combiner
2481 Automatic part combining is used to merge two parts of music onto a
2482 staff in an intelligent way. It is aimed primarily at typesetting
2483 orchestral scores. When the two parts are identical for a period of
2484 time, only one is shown. In places where the two parts differ, they are
2485 typeset as separate voices, and stem directions are set automatically.
2486 Also, solo and @emph{a due} parts can be identified and marked.
2488 The syntax for part combining is
2491 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
2493 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
2494 combined into one context of type @var{context}. The music expressions
2495 must be interpreted by contexts whose names should start with @code{one}
2498 The most useful function of the part combiner is to combine parts into
2499 one voice, as common for wind parts in orchestral scores:
2501 @lilypond[verbatim,singleline,fragment]
2503 \context Voice=one \partcombine Voice
2504 \context Thread=one \relative c'' {
2507 \context Thread=two \relative c'' {
2513 Notice that the first @code{g} appears only once, although it was
2514 specified twice (once in each part). Stem, slur and tie directions are
2515 set automatically, depending whether there is a solo or unisono. The
2516 first part (with context called @code{one}) always gets up stems, and
2517 `solo', while the second (called @code{two}) always gets down stems and
2520 If you just want the merging parts, and not the textual markings, you
2521 may set the property @var{soloADue} to false.
2523 @lilypond[verbatim,singleline,fragment]
2525 \property Staff.soloADue = ##f
2526 \context Voice=one \partcombine Voice
2527 \context Thread=one \relative c'' {
2530 \context Thread=two \relative c'' {
2536 There are a number of other properties that you can use to tweak the
2537 behavior of part combining, refer to the automatically generated
2538 documentation. Look at the documentation of the responsible engravers,
2539 @code{Thread_devnull_engraver}, @code{Voice_devnull_engraver} and
2544 In @code{soloADue} mode, when the two voices play the same notes on and
2545 off, the part combiner may typeset @code{a2} more than once in a
2548 @lilypond[fragment,singleline]
2550 \context Voice=one \partcombine Voice
2551 \context Thread=one \relative c'' {
2554 \context Thread=two \relative c'' {
2560 @cindex @code{Thread_devnull_engraver}
2561 @cindex @code{Voice_engraver}
2562 @cindex @code{A2_engraver}
2564 @node Hara kiri staffs
2565 @subsection Hara kiri staffs
2567 In orchestral scores, staffs that only have rests are usually removed.
2568 This saves some space. LilyPond also supports this through the hara
2569 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
2570 the Japanese Samourai warriors.} staff. This staff commits suicide when
2571 it finds itself to be empty after the line-breaking process. It will
2572 not disappear when it contains normal rests, you must use multi measure
2575 The hara kiri staff is specialized version of the Staff context. It is
2576 available as the context identifier @code{\HaraKiriStaffContext}.
2577 Observe how the second staff in this example disappears in the second
2582 \notes \relative c' <
2583 \context Staff = SA { e4 f g a \break c1 }
2584 \context Staff = SB { c4 d e f \break R1 }
2588 \translator { \HaraKiriStaffContext }
2601 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
2602 staff context symbol that appears at the end of a staff line. It
2603 anticipates the pitch of the first note(s) of the following line and
2604 thus helps the player or singer to manage line breaks during
2605 performance, thus enhancing readability of a score.
2610 \property Staff.Custos \set #'style = #'mensural
2615 \consists Custos_engraver
2621 Custodes were frequently used in music notation until the 16th century.
2622 There were different appearances for different notation styles.
2623 Nowadays, they have survived only in special forms of musical notation
2624 such as via the @emph{editio vaticana} dating back to the beginning of
2627 For typesetting custodes, just put a @code{Custos_engraver} into the
2628 @code{StaffContext} when declaring the @code{\paper} block. In this
2629 block, you can also globally control the appearance of the custos symbol
2630 by setting the custos @code{style} property. Currently supported styles
2631 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
2638 \consists Custos_engraver
2639 Custos \override #'style = #'mensural
2644 The property can also be set locally, for example in a @code{\notes}
2649 \property Staff.Custos \override #'style = #'vaticana
2650 c'1 d' e' d' \break c' d' e' d'
2654 @c . {Tuning output}
2656 @section Tuning output
2658 LilyPond tries to take as much formatting as possible out of your
2659 hands. Nevertheless, there are situations where it needs some help, or
2660 where you want to override its decisions. In this section we discuss
2661 ways to do just that.
2663 Formatting is internally done by manipulating so called grobs (graphic
2664 objects). Each grob carries with it a set of properties (grob
2665 properties) specific to that object. For example, a stem grob has
2666 properties that specify its direction, length and thickness.
2668 The most direct way of tuning the output is by altering the values of
2669 these properties. There are two ways of doing that: first, you can
2670 temporarily change the definition of a certain type of grob, thus
2671 affecting a whole set of objects. Second, you can select one specific
2672 object, and set a grob property in that object.
2675 * Tuning groups of grobs ::
2676 * Tuning per grob ::
2684 @node Tuning groups of grobs
2685 @subsection Tuning groups of grobs
2687 @cindex grob description
2691 A grob definition is a Scheme association list, that is stored in a
2692 context property. By assigning to that property (using plain
2693 @code{\property}), you can change the resulting grobs.
2695 @lilypond[verbatim, fragment]
2696 c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
2699 The @code{\property} assignment effectively empties the definition of
2700 the Stem object. One of the effects is the recipe of how it should be
2701 printed is erased, with the effect of rendering it invisible. The above
2702 assignment is available as a standard identifier, for the case that you
2706 \property Voice.Stem = \turnOff
2713 This mechanism is fairly crude, since you can only set, but not modify,
2714 the definition of a grob. For this reason, there is a more advanced
2717 The definition of a grob is actually a list of default grob
2718 properties. For example, the definition of the Stem grob (available in
2719 @file{scm/grob-description.scm}), defines the following values for
2724 (beamed-lengths . (0.0 2.5 2.0 1.5))
2725 (Y-extent-callback . ,Stem::height)
2729 You can add a property on top of the existing definition, or remove a
2730 property, thus overriding the system defaults:
2732 c'4 \property Voice.Stem \override #'thickness = #4.0
2733 c'4 \property Voice.Stem \revert #'thickness
2736 You should balance @code{\override} and @code{\revert}. If that's too
2737 much work, you can use the @code{\set} shorthand. It performs a revert
2738 followed by an override. The following example gives exactly the same
2739 result as the previous one.
2741 c'4 \property Voice.Stem \set #'thickness = #4.0
2742 c'4 \property Voice.Stem \set #'thickness = #0.8
2745 If you use @code{\set}, you must explicitly restore the default.
2748 Formally the syntax for these constructions is
2750 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
2751 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
2752 \property @var{context}.@var{grobname} \revert @var{symbol}
2754 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
2755 and @var{grobname} are strings and @var{value} is a Scheme expression.
2758 If you revert a setting which was not set in the first place, then it
2759 has no effect. However, if the setting was set as a system default, it
2760 may remove the default value, and this may give surprising results,
2761 including crashes. In other words, @code{\override} and @code{\revert},
2762 must be carefully balanced.
2764 These are examples of correct nesting of @code{\override}, @code{\set},
2767 A clumsy but correct form:
2769 \override \revert \override \revert \override \revert
2772 Shorter version of the same:
2774 \override \set \set \revert
2777 A short form, using only @code{\set}. This requires you to know the
2780 \set \set \set \set @var{to default value}
2783 If there is no default (i.e. by default, the grob property is unset),
2786 \set \set \set \revert
2789 For the digirati, the grob description is an Scheme association
2790 list. Since a Scheme list is a singly linked list, we can treat it as a
2791 stack, and @code{\override} and @code{\revert} are just push and pop
2792 operations. This pushing and popping is also used for overriding
2793 automatic beaming settings.
2797 LilyPond will hang or crash if @var{value} contains cyclic references.
2798 The backend is not very strict in type-checking grob properties. If you
2799 @code{\revert} properties that are expected to be set by default,
2802 Some grobs are created at the moment that their context is created. An
2803 example of such a grob is the staff itself (i.e. the horizontal lines).
2804 You can not change the appearance of the staff symbol by manipulating
2805 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
2806 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
2807 created before any @code{\override} is effective. You can deal with this
2808 either overriding properties in a @code{\translator} definition, or by
2809 using @code{\outputproperty}.
2814 @node Tuning per grob
2815 @subsection Tuning per grob
2817 @cindex \outputproperty
2819 A second way of tuning grobs is the more arcane @code{\outputproperty}
2820 feature. The syntax is as follows:
2822 \outputproperty @var{predicate} @var{symbol} = @var{value}
2824 Here @code{predicate} is a Scheme function taking a grob argument, and
2825 returning a boolean. This statement is processed by the
2826 @code{Output_property_engraver}. It instructs the engraver to feed all
2827 grobs that it sees to @var{predicate}. Whenever the predicate returns
2828 true, the grob property @var{symbol} will be set to @var{value}.
2830 You will need to combine this statement with @code{\context} to select
2831 the appropriate context to apply this to.
2833 Here are some random examples.
2836 In the following example, all note heads occurring at current staff
2837 level, are shifted up and right by setting their @code{extra-offset}
2840 @lilypond[fragment,verbatim,singleline]
2842 \context Staff \outputproperty
2843 #(make-type-checker 'note-head-interface)
2844 #'extra-offset = #'(0.5 . 0.75)
2848 @cindex @code{extra-offset}
2850 In this example, the predicate checks the @code{text} grob property, to
2851 shift only the `m.d.' text, but not the fingering instruction "2".
2852 @lilypond[verbatim,singleline]
2853 #(define (make-text-checker text)
2854 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
2857 \notes\relative c''' {
2858 \property Voice.Stem \set #'direction = #1
2859 \outputproperty #(make-text-checker "m.d.")
2860 #'extra-offset = #'(-3.5 . -4.5)
2868 If possible, avoid this feature: the semantics are not very clean, and
2869 the syntax and semantics are up for rewrite.
2875 @subsection What to tune?
2877 This all tells you how to tune grobs, but you don't know what variables
2878 to set? The question is not answered in this manual (although you may
2879 encounter some examples.).
2881 Grob properties are tied directly to the implementation of LilyPond, and
2882 they are thus a moving target. Documentation of such variables is in the
2883 automatically generated documentation. Description of properties are
2884 generated from the source code for each version. This documentation is
2885 therefore more up to date. It should be available from the same place
2886 where you got this manual.
2888 To decide how to tune a grob, you need to find the following information
2891 which grob to modify
2893 which property to modify
2895 which context the grob comes from.
2898 Included with the automatically generated documentation is a master list
2899 of grobs. Selecting a grob will take you to an overview of the
2900 properties available for that grob.
2902 There is also a master list of contexts. Selecting one takes you to an
2903 overview of that context which lists which grob types are created there.
2906 @node Font selection
2907 @subsection Font selection
2909 Most graphics in LilyPond are composed of characters of fonts. You can
2910 alter the characteristics of the font by setting certain grob
2911 properties. The mechanism that is used for this resembles La@TeX{}'s New
2912 Font Selection Scheme. Within this scheme, a font is entirely
2913 characterized by its font name.
2915 For each grob that uses fonts (in other words, each grob that supports
2916 @code{font-interface}) a font-name must be selected before it can be
2917 printed. The font name is selected by looking at a number of grob
2922 A symbol indicating the general class of the typeface. Supported are
2923 @code{roman} (Computer Modern), @code{braces} (for piano staff braces),
2924 @code{music} (the standard music font), @code{dynamic} (font for dynamic
2925 signs) and @code{typewriter}
2928 A symbol indicating the shape of the font, a finer gradation than
2929 font-family. Choices are @code{italic}, @code{caps} and @code{upright}
2932 A symbol indicating the series of the font. @code{font-series} form a
2934 than @code{font-shape}. Choices are @code{medium} and @code{bold}.
2936 @item font-relative-size
2937 A number indicating the size relative the standard size. For example,
2938 with 20pt staff height, relative size -1 corresponds to 16pt staff
2939 height, and relative size +1 corresponds to 23 pt staff height.
2941 @item font-design-size
2942 A number indicating the design size of the font.
2944 This is a feature of the Computer Modern Font: each point size has a
2945 slightly different design. Smaller design sizes are relatively wider,
2946 which enhances readability. Scalable type faces such TrueType and Adobe
2947 Type1 usually come as ``one design fits all sizes''.
2950 The name of the font, without the design size, e.g. @code{cmr},
2951 @code{cmti}, etc. Setting this overrides font-family, font-shape and
2956 The font is selected by taking the first font that satisfies all
2957 qualifiers specified. You can override any of these fields through
2958 @code{\override} and @code{\revert}. The special value @code{*} matches
2959 any value for that qualifier.
2962 \property Lyrics.LyricText \override #'font-series = #'bold
2963 \property Lyrics.LyricText \override #'font-shape = #'*
2966 @cindex @code{font-style}
2968 There are also pre-cooked font selection qualifiers. These are selected
2969 through the grob property @code{font-style}. For example, the style
2970 @code{finger} selects family @code{number} and relative size @code{-3}.
2971 Styles available include @code{volta}, @code{finger}, @code{tuplet},
2972 @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large}
2975 The style sheets and tables for selecting fonts are located in
2976 @file{scm/font.scm}. Refer to this file for more information.
2980 Relative size is not linked to any real size.
2982 There is no mechanism to select magnification of particular fonts,
2983 meaning that you don't have access to continuously scaled fonts. You
2984 can scale the entire output, of course, see @ref{Output scaling}.
2986 There is no style sheet provided for other fonts besides the @TeX{}
2989 @cindex font selection
2990 @cindex font magnification
2991 @cindex @code{font-interface}
2995 @subsection Text markup
2999 LilyPond has an internal mechanism to typeset texts. You can
3000 form text markup expressions by composing scheme expressions
3001 in the following way.
3003 @lilypond[verbatim, singleline]
3008 c^#'(italic "italic")
3009 d_#'((bold italic) "ff")
3011 f_#'(lines "one" (bold "two"))
3012 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3016 Normally, the Scheme markup text is stored in the @code{text} property
3017 of a grob. Formally, it is defined as follows:
3020 text: string | (head? text+)
3021 head: markup | (markup+)
3022 markup-item: property | abbrev
3023 property: (@var{key} . @var{value})
3024 abbrev: @code{columns lines roman music bold italic named super sub
3026 @code{finger volta timesig mmrest mark script large Large dynamic}
3029 The markup is broken down and converted into a list of grob properties,
3030 which are prepended to the property list. The @var{key}-@var{value}
3031 pair is a grob property. A list of properties available is included in
3032 the generated documentation for @code{text-interface}
3034 The following abbreviations are currently defined:
3037 horizontal mode: set all text on one line (default)
3039 vertical mode: set every text on a new line
3043 selects the Feta font (the standard font for music notation glyphs),
3044 and uses named lookup
3051 lookup by character name
3053 plain text lookup (by character value)
3059 the next text or character overstrikes this one
3061 select fingering number fontstyle
3063 select volta number fontstyle
3065 select time signature number fontstyle
3067 select multi measure rest number fontstyle
3069 select mark number fontstyle
3071 select scriptsize roman fontstyle
3073 select large roman fontstyle
3075 select Large roman fontstyle
3077 select dynamics fontstyle
3081 @cindex metronome mark
3083 One practical application of complicated markup is to fake a metronome
3087 #(define note '(columns
3088 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
3089 #(define eight-note `(columns ,note ((kern . -0.1)
3090 (music ((raise . 3.5) "flags-u3")))))
3091 #(define dotted-eight-note
3092 `(columns ,eight-note (music "dots-dot")))
3095 \notes\relative c'' {
3096 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
3102 TextScript \override #'font-shape = #'upright
3108 @node Invisible grobs
3109 @subsection Invisible grobs
3110 @cindex invisible grobs
3114 ben nog steeds niet kapot van de informatiedichtheid hier.
3120 You can imagine a number of situations where you would want to make
3121 certain grobs not show up in the output. There may be aesthetic
3122 reasons, to make the output resemble an (old) manuscript as close as
3123 possible, or to make lessons or exercises for students.
3125 Grobs can be made invisible in a number of ways:
3127 Here's an example with blanked-out notes and stems:
3128 @lilypond[singleline,verbatim]
3130 \property Voice.NoteHead \override
3132 \property Voice.Stem \override
3133 #'transparent = ##t }
3136 \property Voice.NoteHead \revert #'transparent
3137 \property Voice.Stem \revert #'transparent }
3140 \notes\relative c'' {
3142 a b c b \blanknotes c \unblanknotes d
3147 A very rigorous way of removing grobs from the output is to remove the
3148 engraver that creates them. For example,
3151 \score {\notes { c'4 d'8 e'8 g2 }
3152 \paper { \translator {
3154 \remove Stem_engraver
3161 @subsection Dirty tricks
3162 @cindex embedded tex
3164 It is possible to use @TeX{} commands in the strings, but this should be
3165 avoided because this makes it impossible for LilyPond to compute the
3166 exact length of the string, which may lead to collisions. Also, @TeX{}
3167 commands won't work with direct PostScript output (see @ref{PostScript
3170 @lilypond[fragment,relative,verbatim]
3171 a''^"3 $\\times$ \\`a deux"
3174 You can also use raw PostScript commands embedded in text scripts. This
3175 offers ultimate flexibility, but requires you to learn PostScript.
3176 Currently, embedded PostScript will @strong{not} work with direct
3177 PostScript output. Note that all dimensions that you use are in staff
3182 \notes \relative c'' {
3183 a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
3184 -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
3185 b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
3189 \paper { linewidth = 70*\staffspace }
3196 @section Page layout
3199 The page layout is the combined product of LilyPond formatting notation,
3200 and (La)@TeX{} putting the notation on a page, including page breaks.
3201 The part of LilyPond is documented here.
3215 @subsection Paper block
3218 The most important output definition is the @code{\paper} block, for
3219 music notation. The syntax is
3222 @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
3225 where each of the items is one of
3228 @item An assignment.
3230 @item A context definition. See @ref{Interpretation context} for
3231 more information on context definitions.
3233 @item \stylesheet declaration. Its syntax is
3235 \stylesheet @var{alist}
3238 See @file{scm/font.scm} for details of @var{alist}.
3239 @item an @code{\elementdescriptions} declaration.
3241 \elementdescriptions @var{alist}
3243 See @file{scm/grob-description.scm} for details of
3244 @var{alist}. This command is not user-serviceable.
3248 @c . {Paper variables}
3249 @node Paper variables
3250 @subsection Paper variables
3251 @cindex Paper variables
3253 The paper block has some variables you may want to use or change:
3256 @cindex @code{indent}
3258 The indentation of the first line of music.
3259 @cindex @code{staffspace}
3261 @item @code{staffspace}
3262 The distance between two staff lines, calculated from the center
3265 @cindex @code{linewidth}
3266 @item @code{linewidth}
3267 Sets the width of the lines.
3269 If set to a negative value, a single unjustified line is produced.
3270 @c rename to singleLinePaper ?
3271 The shorthand @code{\singleLine} defines a default paper block that
3272 produces a single line.
3274 @cindex @code{textheight}
3276 @item @code{textheight}
3277 Sets the total height of the music on each page. Only used by
3280 @cindex @code{interscoreline}
3282 @item @code{interscoreline}
3283 Sets the spacing between systems.
3285 @cindex @code{interscorelinefill}
3287 @item @code{interscorelinefill}
3288 If set to a positive number, the distance between the score
3289 lines will stretch in order to fill the full page. In that
3290 case @code{interscoreline} specifies the minimum spacing.
3295 @cindex @code{stafflinethickness}
3297 @item @code{stafflinethickness}
3298 Determines the thickness of staff lines, and also acts as a scaling
3299 parameter for other line thicknesses.
3302 You may enter these dimension using units (@code{cm}, @code{in},
3303 @code{mm}, @code{pt}), or relative to another dimension
3305 linewidth = 20.0 * \staffspace
3312 @subsection Font size
3315 The Feta font provides musical symbols at six different sizes. These
3316 fonts are 11 point, 13 point, 16 point, 20 point,
3317 23 point, and 26 point. The point size of a font is the
3318 height of the five lines in a staff when displayed in the font.
3320 Definitions for these sizes are the files @file{paperSZ.ly}, where
3321 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
3322 these files, the identifiers @code{paperEleven}, @code{paperThirteen},
3323 @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
3324 @code{paperTwentysix} are defined respectively. The default
3325 @code{\paper} block is also set.
3327 The font definitions are generated using a Scheme function. For more
3328 details, see the file @file{scm/font.scm}.
3334 @subsection Paper size
3339 @cindex @code{papersize}
3341 To change the paper size, you must first set the
3342 @code{papersize} variable at top level. Set it to
3343 the strings @code{a4}, @code{letter}, or @code{legal}. After this
3344 specification, you must set the font as described above. If you want
3345 the default font, then use the 20 point font.
3349 \include "paper16.ly"
3352 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
3353 will set the paper variables @code{hsize} and @code{vsize} (used by
3358 @subsection Line break
3361 @cindex breaking lines
3363 Line breaks are normally computed automatically. They are chosen such
3364 that the resulting spacing has low variation, and looks neither cramped
3367 Occasionally you might want to override the automatic breaks; you can do
3368 this by specifying @code{\break}. This will force a line break at this
3369 point. Do remember that line breaks can only occur at places where there
3370 are bar lines. If you want to have a line break where there is no
3371 bar line, you can force an invisible bar line by entering @code{\bar
3372 ""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
3374 @cindex @code{\penalty}
3376 The @code{\break} and @code{\noBreak} commands are defined in terms of
3377 the penalty command:
3382 This encourages or discourages LilyPond to make a line break at this
3387 The scaling of the @code{\penalty} argument is not well-defined. The
3388 command is rather kludgey, and slated for rewriting.
3392 @subsection Page break
3395 @cindex breaking pages
3398 Page breaks are normally computed by @TeX{}, so they are not under
3399 direct control of LilyPond. However, you can insert a commands into the
3400 @file{.tex} output to instruct @TeX{} where to break pages. For more
3401 details, see the example file @file{input/test/between-systems.ly}
3405 @c . {Output scaling}
3406 @node Output scaling
3407 @subsection Output scaling
3421 There is no mechanism to select magnification of particular fonts,
3422 meaning that you don't have access to continuously scaled fonts.
3426 @c . {Output formats}
3427 @node Output formats
3428 @section Output formats
3430 LilyPond can output processed music in different output formats.
3434 * PostScript output::
3436 * ASCIIScript output::
3440 @subsection TeX output
3443 LilyPond will use @TeX{} by default. Even if you want to produce
3444 PostScript output for viewing or printing, you should normally have
3445 LilyPond produce @TeX{} first. The .tex output must be processed by
3446 @TeX{} (@strong{not} La@TeX{}) to generate a .dvi. Then, @file{Dvips}
3447 is used to generate PostScript. Alternatively, @file{ly2dvi} can be
3448 used to generate the .dvi for you.
3452 Titling is not generated.
3455 @node PostScript output
3456 @subsection PostScript output
3457 @cindex PostScript output
3458 @cindex direct PostScript output
3460 LilyPond can produce PostScript directly, without going through @TeX{}.
3461 Currently, this is mainly useful if you cannot use TeX, because direct
3462 PostScript output has some problems; see Bugs below.
3465 $ lilypond -fps foo.ly
3466 GNU LilyPond 1.3.144
3467 Now processing: `foo.ly'
3469 Interpreting music...[3]
3470 Preprocessing elements...
3471 Calculating column positions...
3472 paper output to foo.ps...
3474 $ cat /usr/share/lilypond/pfa/feta20.pfa foo.ps | lpr
3480 Text font selection is broken.
3482 The .ps file does not contain the .pfa font files. To print a .ps
3483 created through direct postscript output, you should prepend the
3484 necessary .pfa files to LilyPond's .ps output, or upload them to the
3485 printer before printing.
3487 The line height calculation is broken, you must set @var{lineheight} in
3488 the paperblock if you have more than one staff in your score, e.g.
3493 % Set line height to 40 staff spaces
3499 @subsection Scheme output
3500 @cindex Scheme output
3502 In the typesetting stage, LilyPond builds a page description, which is
3503 then written to disk in postscript, @TeX{} or ASCII art. Before it is
3504 written, the page description is represented as Scheme expressions. You
3505 can also dump these Scheme expressions to a file, which may be
3506 convenient for debugging output routines. This done with the Scheme
3510 $ lilypond -fscm foo.ly
3511 GNU LilyPond 1.3.144
3512 Now processing: `foo.ly'
3514 Interpreting music...[3]
3515 Preprocessing elements...
3516 Calculating column positions...
3517 paper output to foo.scm...
3520 ;;; Usage: guile -s x.scm > x.tex
3521 (primitive-load-path 'standalone.scm)
3525 $ guile -s foo.scm > foo.tex
3529 @node ASCIIScript output
3530 @subsection ASCIIScript output
3531 @cindex ASCIIScript output
3532 @cindex ascii script
3535 LilyPond can output ASCII Art. This is a two step process, LilyPond
3536 produces an ASCII description file, dubbed ASCIIScript (extension
3537 @file{.as}). ASCIIScript has a small and simple command set that
3538 includes font selection, character and string printing and line drawing
3539 commands. The program @file{as2text} is used to translate an .as file
3542 To produce ASCII Art, you must include an ASCII Art paper definition
3543 file in your .ly, one of:
3545 \include "paper-as5.ly"
3546 \include "paper-as9.ly"
3549 Here's an example use for ASCII Art output (the example file
3550 @file{as-email.ly} is included in the LilyPond distribution), the staff
3551 symbol has been made invisible:
3554 $ lilypond -fas as-email.ly
3555 GNU LilyPond 1.3.144
3556 Now processing: `as-email.ly'
3558 Interpreting music...[3]
3559 Preprocessing elements...
3560 Calculating column positions... [2]
3561 paper output to as-email.as...
3563 $ as2text as-email.as 2>/dev/null
3565 |/ |##|##| | | | | |
3566 /| | | | | |\ |\ |\ |\ |\ |
3567 / |_ 3 | | | | 5 | )| )| )| )| )|
3568 | /| \ 8 * * * | 8 * * * * * |
3578 The ASCII Art fonts are far from complete and not very well designed.
3579 It's easy to change the glyphs, though; if you think you can do better,
3580 have a look at @file{mf/*.af}.
3582 Lots of resizable symbols such as slurs, ties, tuplets are missing.
3584 The poor looks of most ASCII Art output and its limited general
3585 usefulness make that ASCII Art output has a low priority; it may be
3586 dropped in future versions.
3593 LilyPond can produce MIDI output. The performance lacks lots of
3594 interesting effects, such as swing, articulation, slurring, etc., but it
3595 is good enough for proof-hearing the music you have entered. Ties,
3596 dynamics and tempo changes are interpreted.
3598 Dynamic marks, crescendi and decrescendi translate into MIDI volume
3599 levels. Dynamic marks translate to a fixed fraction of the available
3600 MIDI volume range, crescendi and decrescendi make the the volume vary
3601 linearly between their two extremities. The fractions be adjusted by
3602 overriding the @code{absolute-volume-alist} defined in
3603 @file{scm/midi.scm}.
3605 For each type of musical instrument (that MIDI supports), a volume range
3606 can be defined. This gives you basic equalizer control, which can
3607 enhance the quality of the MIDI output remarkably. You can add
3608 instruments and ranges or change the default settings by overriding the
3609 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
3611 Both loudness controls are combined to produce the final MIDI volume.
3616 It is currently not possible to use the percussion channel (generally
3617 channel 10 of a MIDI file).
3621 * MIDI instrument names::
3626 @subsection MIDI block
3630 The MIDI block is analogous to the paper block, but it is somewhat
3631 simpler. The @code{\midi} block can contain:
3635 @item a @code{\tempo} definition
3636 @item context definitions
3639 Assignments in the @code{\midi} block are not allowed.
3643 @cindex context definition
3645 Context definitions follow precisely the same syntax as within the
3646 \paper block. Translation modules for sound are called performers.
3647 The contexts for MIDI output are defined in @file{ly/performer.ly}.
3650 @node MIDI instrument names
3651 @subsection MIDI instrument names
3653 @cindex instrument names
3654 @cindex @code{Staff.midiInstrument}
3655 @cindex @code{Staff.instrument}
3657 The MIDI instrument name is set by the @code{Staff.midiInstrument}
3658 property or, if that property is not set, the @code{Staff.instrument}
3659 property. The instrument name should be chosen from the list in
3660 @ref{MIDI instruments}.
3664 If the selected string does not exactly match, then LilyPond uses the
3665 default (Grand Piano). It is not possible to select an instrument by
3678 @section Music entry
3686 One of the applications of LilyPond is to enter music from existing
3687 written or printed material. When you're doing this kind of copying
3688 work, you can easily make mistakes. This section deals with tricks and
3689 features that help you enter music, and find and correct mistakes.
3693 @subsection Relative
3695 @cindex relative octave specification
3697 Octaves are specified by adding @code{'} and @code{,} to pitch names.
3698 When you copy existing music, it is easy to accidentally put a pitch in
3699 the wrong octave and hard to find such an error. To prevent these
3700 errors, LilyPond features octave entry.
3702 @cindex @code{\relative}
3704 \relative @var{startpitch} @var{musicexpr}
3707 The octave of notes that appear in @var{musicexpr} are calculated as
3708 follows: If no octave changing marks are used, the basic interval
3709 between this and the last note is always taken to be a fourth or less
3710 (This distance is determined without regarding alterations; a
3711 @code{fisis} following a @code{ceses} will be put above the
3714 The octave changing marks @code{'} and @code{,} can be added to raise or
3715 lower the pitch by an extra octave. Upon entering relative mode, an
3716 absolute starting pitch must be specified that will act as the
3717 predecessor of the first note of @var{musicexpr}.
3719 Entering music that changes octave frequently is easy in relative mode.
3720 @lilypond[fragment,singleline,verbatim,center]
3726 And octave changing marks are used for intervals greater than a fourth.
3727 @lilypond[fragment,verbatim,center]
3729 c g c f, c' a, e'' }
3732 If the preceding item is a chord, the first note of the chord is used
3733 to determine the first note of the next chord. But other notes
3734 within the second chord are determined by looking at the immediately
3737 @lilypond[fragment,verbatim,center]
3744 @cindex @code{\notes}
3746 The pitch after the @code{\relative} contains a note name. To parse
3747 the pitch as a note name, you have to be in note mode, so there must
3748 be a surrounding @code{\notes} keyword (which is not
3751 The relative conversion will not affect @code{\transpose},
3752 @code{\chords} or @code{\relative} sections in its argument. If you
3753 want to use relative within transposed music, you must place an
3754 additional @code{\relative} inside the @code{\transpose}.
3759 @subsection Bar check
3763 @cindex @code{barCheckNoSynchronize}
3767 Whenever a bar check is encountered during interpretation, a warning
3768 message is issued if it doesn't fall at a measure boundary. This can
3769 help you find errors in the input. Depending on the value of
3770 @code{barCheckNoSynchronize}, the beginning of the measure will be
3771 relocated, so this can also be used to shorten measures.
3773 A bar check is entered using the bar symbol, @code{|}:
3775 \time 3/4 c2 e4 | g2.
3778 @c . {Point and click}
3779 @node Point and click
3780 @subsection Point and click
3782 Point and click lets you find notes in the input by clicking on them in
3783 the Xdvi window. This makes it very easy to find input that causes some
3784 error in the sheet music.
3786 To use it, you need the following software
3788 @unnumberedsubsec Installation
3792 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
3793 Xdvi} version 22.36 or newer.
3795 Note that most @TeX{} distributions ship with xdvik, which is a
3796 different and less well maintained program. To find out which xdvi you
3797 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
3801 Xdvi must be configured to find the TeX fonts and music
3802 fonts. Refer to the Xdvi documentation for more information.
3805 @unnumberedsubsec Using it
3807 Add one of these lines to the top of your .ly file. The first one is for
3808 line location only. The second one is more convenient, but requires
3809 patching @code{emacsclient} and @code{server.el}.
3812 #(set! point-and-click line-location)
3815 In the emacs startup file (usually @file{~/.emacs}), add the following
3820 Make sure that the environment variable @code{XEDITOR} is set
3823 emacsclient --no-wait +%l %f
3825 The second one, that also specifies the column, only works if you have
3826 patched your emacsclient and server, and have compiled your @code{.ly}
3827 file using the @code{line-column-location} setting.
3829 When viewing, control-mousebutton 1 will take you to the originating
3830 spot in the @file{.ly} file. Control-mousebutton 2 will show all
3834 @unnumberedsubsec Column location
3836 If you want emacs to jump to the exact spot (and not just the line) on a
3837 click, you must enable column positioning. To do so, you need to patch
3838 emacsclient. Apply @file{emacsclient.patch} (included with the source
3839 package) to @file{emacsclient.c} and @file{server.el} from the emacs
3840 source code. Recompile and stick the recompiled emacsclient into a bin
3841 directory, and put @file{server.el} into a elisp directory
3842 (e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
3843 init file, before invoking server-start.
3846 (setq load-path (cons "~/usr/share/emacs" load-path))
3849 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}
3851 At the top of the @code{ly} file, replace the @code{set!} line with the
3854 #(set! point-and-click line-column-location)
3861 When you convert the @TeX{} file to PostScript using @code{dvips}, it
3862 will complain about not finding @code{src:X:Y} files. Those complaints
3863 are harmless, and can be ignored.
3865 When using @code{line-colum-location}, the cursor will be one off; it
3866 will not jump to the exact note that you clicked, but to the next one.
3870 @node Skipping corrected music
3871 @section Skipping corrected music
3873 The property @code{Score.skipTypesetting} can be used to switch on and
3874 off typesetting completely during the interpretation phase. When
3875 typesetting is switched off, the music is processed much more quickly.
3876 You can use this to skip over the parts of a score that you have already
3879 @lilypond[fragment,singleline,verbatim]
3880 \relative c'' { c8 d
3881 \property Score.skipTypesetting = ##t
3883 \property Score.skipTypesetting = ##f
3888 @node Interpretation context
3889 @section Interpretation context
3892 * Creating contexts::
3893 * Default contexts::
3894 * Context properties::
3895 * Engravers and performers::
3896 * Changing context definitions::
3897 * Defining new contexts::
3901 Interpretation contexts are objects that only exist during a run of
3902 LilyPond. During the interpretation phase of LilyPond (when it prints
3903 "interpreting music"), the music expression in a @code{\score} block is
3904 interpreted in time order. This is the same order that humans hear and
3907 During this interpretation, the interpretation context is holds the
3908 state for the current point within the music. It contains information
3912 @item What notes are playing at this point?
3913 @item What symbols will be printed at this point?
3914 @item What is the current key signature, time signature, point within
3918 Contexts are grouped hierarchically: A @code{Voice} context is
3919 contained in a @code{Staff} context (because a staff can contain
3920 multiple voices at any point), a @code{Staff} context is contained in
3921 @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context.
3923 Contexts associated with sheet music output are called @emph{notation
3924 contexts}, those for sound output are called @emph{performance
3928 @node Creating contexts
3929 @subsection Creating contexts
3931 @cindex @code{\context}
3932 @cindex context selection
3934 Contexts for a music expression can be selected manually, using the
3935 following music expression.
3938 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
3941 This instructs lilypond to interpret @var{musicexpr} within the context
3942 of type @var{contexttype} and with name @var{contextname}. If this
3943 context does not exist, it will be created.
3945 @lilypond[verbatim,singleline]
3947 \notes \relative c'' {
3948 c4 <d4 \context Staff = "another" e4> f
3954 In this example, the @code{c} and @code{d} are printed on the
3955 default staff. For the @code{e}, a context Staff called
3956 @code{another} is specified; since that does not exist, a new
3957 context is created. Within @code{another}, a (default) Voice context
3958 is created for the @code{e4}. When all music referring to a
3959 context is finished, the context is ended as well. So after the
3960 third quarter, @code{another} is removed.
3964 @node Default contexts
3965 @subsection Default contexts
3967 Most music expressions don't need @code{\context}: they inherit the
3968 notation context from their parent. Each note is a music expression, and
3969 as you can see in the following example, only the sequential music
3970 enclosing the three notes has an explicit context.
3972 @lilypond[verbatim,singleline]
3973 \score { \notes \context Voice = goUp { c'4 d' e' } }
3976 There are some quirks that you must keep in mind when dealing with
3979 First, every top-level music is interpreted by the Score context, in other
3980 words, you may think of @code{\score} working like
3983 \context Score @var{music}
3987 Second, sequential music follows the contexts of its
3988 ``children''. Consider the following example.
3990 @lilypond[verbatim, singleline]
3991 \score { \context Score \notes { c'4 ( d' )e' } }
3994 The sequential music is interpreted by the Score context initially
3995 (notice that the @code{\context} specification is redundant), but when a
3996 note is encountered, contexts are setup to accept that note. In this
3997 case, a Thread, Voice and Staff are created. The rest of the sequential
3998 music is also interpreted with the same Thread, Voice and Staff context,
3999 putting the notes on the same staff, in the same voice.
4001 This is a convenient mechanism, but do not expect opening chords to work
4002 without @code{\context}. For every note, a separate staff is
4005 @lilypond[verbatim, singleline]
4006 \score { \notes <c'4 es'> }
4009 Of course, if the chord is preceded by a normal note in sequential
4010 music, the chord will be interpreted by the Thread of the preceding
4012 @lilypond[verbatim,singleline]
4013 \score { \notes { c'4 <c'4 es'> } }
4018 @node Context properties
4019 @subsection Context properties
4021 Notation contexts have properties. These properties are from
4022 the @file{.ly} file using the following expression:
4023 @cindex @code{\property}
4025 \property @var{contextname}.@var{propname} = @var{value}
4028 Sets the @var{propname} property of the context @var{contextname} to the
4029 specified Scheme expression @var{value}. All @var{propname} and
4030 @var{contextname} are strings, which are typically unquoted.
4032 Properties that are set in one context are inherited by all of the
4033 contained contexts. This means that a property valid for the
4034 @code{Voice} context can be set in the @code{Score} context (for
4035 example) and thus take effect in all @code{Voice} contexts.
4037 Properties can be unset using the following expression:
4039 \property @var{contextname}.@var{propname} \unset
4042 @cindex properties, unsetting
4043 @cindex @code{\unset}
4045 This removes the definition of @var{propname} in @var{contextname}. If
4046 @var{propname} was not defined in @var{contextname} (but was inherited
4047 from a higher context), then this has no effect.
4052 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
4053 the inverse of @code{\property \set}.
4055 @node Engravers and performers
4056 @subsection Engravers and performers
4060 Basic building blocks of translation are called engravers; they are
4061 special C++ classes.
4065 @c . {Context definitions}
4066 @node Changing context definitions
4067 @subsection Changing context definitions
4069 @cindex context definition
4070 @cindex translator definition
4072 The most common way to define a context is by extending an existing
4073 context. You can change an existing context from the paper block, by
4074 first initializing a translator with an existing context identifier:
4078 @var{context-identifier}
4081 Then you can add and remove engravers using the following syntax:
4083 \remove @var{engravername}
4084 \consists @var{engravername}
4088 Here @var{engravername} is a string, the name of an engraver in the
4092 @lilypond[verbatim,singleline]
4096 \translator { \StaffContext
4097 \remove Clef_engraver
4103 You can also set properties in a translator definition. The syntax is as
4106 @var{propname} = @var{value}
4107 @var{propname} \set @var{grob-propname} = @var{pvalue}
4108 @var{propname} \override @var{grob-propname} = @var{pvalue}
4109 @var{propname} \revert @var{grob-propname}
4111 @var{propname} is a string, @var{grob-propname} a symbol, @var{value}
4112 and @code{pvalue} are Scheme expressions. These type of property
4113 assignments happen before interpretation starts, so a @code{\property}
4114 command will override any predefined settings.
4117 To simplify editing translators, all standard contexts have standard
4118 identifiers called @var{name}@code{Context}, e.g. @code{StaffContext},
4119 @code{VoiceContext}.
4121 @node Defining new contexts
4122 @subsection Defining new contexts
4124 If you want to build a context from scratch, you must also supply the
4125 following extra information:
4127 @item A name, specified by @code{\name @var{contextname};}.
4129 @item A cooperation module. This is specified by @code{\type
4136 \type "Engraver_group_engraver"
4139 \consists "Staff_symbol_engraver"
4140 \consists "Note_head_engraver"
4141 \consistsend "Axis_group_engraver"
4145 The argument of @code{\type} is the name for a special engraver that
4146 handles cooperation between simple engravers such as
4147 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. Alternatives
4148 for this engraver are the following:
4150 @cindex @code{Engraver_group_engraver}
4151 @item @code{Engraver_group_engraver}
4152 The standard cooperation engraver.
4154 @cindex @code{Score_engraver}
4156 @item @code{Score_engraver}
4157 This is cooperation module that should be in the top level context,
4158 and only the top level context.
4160 @cindex @code{Grace_engraver_group}
4162 @item @code{Grace_engraver_group}
4163 This is a special cooperation module (resembling
4164 @code{Score_engraver}) that is used to create an embedded
4171 @item @code{\alias} @var{alternate-name}
4172 This specifies a different name. In the above example,
4173 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s
4175 @item @code{\consistsend} @var{engravername}
4176 Analogous to @code{\consists}, but makes sure that
4177 @var{engravername} is always added to the end of the list of
4180 Some engraver types need to be at the end of the list; this
4181 insures they stay there even if a user adds or removes engravers.
4182 End-users generally don't need this command.
4184 @item @code{\accepts} @var{contextname}
4185 Add @var{contextname} to the list of context this context can
4186 contain. The first listed context is the context to create by
4189 @item @code{\denies}. The opposite of @code{\accepts}. Added for
4190 completeness, but is never used in practice.
4193 @item @code{\name} @var{contextname}
4194 This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
4195 the name is not specified, the translator won't do anything.
4198 In the @code{\paper} block, it is also possible to define translator
4199 identifiers. Like other block identifiers, the identifier can only
4200 be used as the very first item of a translator. In order to define
4201 such an identifier outside of @code{\score}, you must do
4206 foo = \translator @{ @dots{} @}
4213 \translator @{ \foo @dots{} @}
4221 @cindex paper types, engravers, and pre-defined translators
4228 @c . {Syntactic details}
4229 @node Syntactic details
4230 @section Syntactic details
4231 @cindex Syntactic details
4233 This section describes details that were too boring to be put elsewhere.
4238 * Music expressions::
4239 * Manipulating music expressions::
4247 @subsection Top level
4250 This section describes what you may enter at top level.
4254 @subsubsection Score
4257 @cindex score definition
4259 The output is generated combining a music expression with an output
4260 definition. A score block has the following syntax:
4263 \score @{ @var{musicexpr} @var{outputdefs} @}
4266 @var{outputdefs} are zero or more output definitions. If none is
4267 supplied, the default @code{\paper} block will be added.
4271 @c . {Default output}
4272 @subsubsection Default output
4274 Default values for the @code{\paper} and @code{\midi} block are set by
4275 entering such a block at top-level.
4278 @subsubsection Header
4280 @cindex @code{\header}
4283 A header describes bibliographic information of the file's contents. It
4284 can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
4285 use this information for generating titles. Key values that are used by
4286 @code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
4287 metre, arranger, piece and tagline.
4289 @cindex @code{ly2dvi}
4293 \header @{ @var{key1} = @var{val1}
4294 @var{key2} = @var{val2} @dots{} @}
4297 It is customary to put the @code{\header} at the top of the file.
4299 @subsubsection Default output
4301 A @code{\midi} or @code{\paper} block at top-level sets the default
4302 paper block for all scores that lack an explicit paper block.
4306 @subsection Identifiers
4309 All of the information in a LilyPond input file, is represented as a
4310 Scheme value. In addition to normal Scheme data types (such as pair,
4311 number, boolean, etc.), LilyPond has a number of specialized data types,
4318 @item Translator_def
4322 @item Music_output_def
4323 @item Moment (rational number)
4326 LilyPond also includes some transient object types. Objects of these
4327 types are built during a LilyPond run, and do not `exist' per se within
4328 your input file. These objects are created as a result of your input
4329 file, so you can include commands in the input to manipulate them,
4330 during a lilypond run.
4333 @item Grob: short for Graphical object. See @ref{Grobs}.
4334 @item Molecule: device-independent page output object,
4335 including dimensions. Produced by some Grob functions
4337 @item Translator: object that produces audio objects or Grobs. This is
4338 not yet user accessible.
4339 @item Font_metric: object representing a font. (See @ref{Font metrics})
4344 @node Music expressions
4345 @subsection Music expressions
4347 @cindex music expressions
4349 Music in LilyPond is entered as a music expression. Notes, rests, lyric
4350 syllables are music expressions, and you can combine music expressions
4351 to form new ones, for example by enclosing a list of expressions in
4352 @code{\sequential @{ @}} or @code{< >}. In the following example, a
4353 compound expression is formed out of the quarter note @code{c} and a
4354 quarter note @code{d}:
4357 \sequential @{ c4 d4 @}
4360 @cindex Sequential music
4361 @cindex @code{\sequential}
4362 @cindex sequential music
4365 @cindex Simultaneous music
4366 @cindex @code{\simultaneous}
4368 The two basic compound music expressions are simultaneous and
4372 \sequential @code{@{} @var{musicexprlist} @code{@}}
4373 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
4375 For both, there is a shorthand:
4377 @code{@{} @var{musicexprlist} @code{@}}
4381 @code{<} @var{musicexprlist} @code{>}
4383 for simultaneous music.
4384 In principle, the way in which you nest sequential and simultaneous to
4385 produce music is not relevant. In the following example, three chords
4386 are expressed in two different ways:
4388 @lilypond[fragment,verbatim,center]
4389 \notes \context Voice {
4390 <a c'> <b d' > <c' e'>
4391 < { a b c' } { c' d' e' } >
4396 Other compound music expressions include
4399 \transpose @var{pitch} @var{expr}
4400 \apply @var{func} @var{expr}
4401 \context @var{type} = @var{id} @var{expr}
4402 \times @var{fraction} @var{expr}
4406 @c . {Manipulating music expressions}
4407 @node Manipulating music expressions
4408 @subsection Manipulating music expressions
4410 The @code{\apply} mechanism gives you access to the internal
4411 representation of music. You can write Scheme-functions that operate
4412 directly on it. The syntax is
4414 \apply #@var{func} @var{music}
4416 This means that @var{func} is applied to @var{music}. The function
4417 @var{func} should return a music expression.
4419 This example replaces the text string of a script. It also shows a dump
4420 of the music it processes, which is useful if you want to know more
4421 about how music is stored.
4423 @lilypond[verbatim,singleline]
4424 #(define (testfunc x)
4425 (if (equal? (ly-get-mus-property x 'text) "foo")
4426 (ly-set-mus-property x 'text "bar"))
4428 (ly-set-mus-property x 'elements
4429 (map testfunc (ly-get-mus-property x 'elements)))
4434 \apply #testfunc { c'4_"foo" }
4438 For more information on what is possible, see the automatically
4439 generated documentation.
4442 Directly accessing internal representations is dangerous: the
4443 implementation is subject to changes, so you should avoid this feature
4446 A final example is a function that reverses a piece of music in time:
4448 @lilypond[verbatim,singleline]
4449 #(define (reverse-music music)
4450 (let* ((elements (ly-get-mus-property music 'elements))
4451 (reversed (reverse elements))
4452 (span-dir (ly-get-mus-property music 'span-direction)))
4453 (ly-set-mus-property music 'elements reversed)
4455 (ly-set-mus-property music 'span-direction (- span-dir)))
4456 (map reverse-music reversed)
4459 music = \notes { c'4 d'4( e'4 f'4 }
4461 \score { \context Voice {
4463 \apply #reverse-music \music
4468 More examples are given in the distributed example files in
4471 @c . {Span requests}
4477 @subsubsection Span requests
4478 @cindex Span requests
4480 Notational constructs that start and end on different notes can be
4481 entered using span requests. The syntax is as follows:
4485 \spanrequest @var{startstop} @var{type}
4489 @cindex @code{\start}
4490 @cindex @code{\stop}
4492 This defines a spanning request. The @var{startstop} parameter is either
4493 -1 (@code{\start}) or 1 (@code{\stop}) and @var{type} is a string that
4494 describes what should be started. Much of the syntactic sugar is a
4495 shorthand for @code{\spanrequest}, for example,
4497 @lilypond[fragment,verbatim,center]
4498 c'4-\spanrequest \start "slur"
4499 c'4-\spanrequest \stop "slur"
4502 Among the supported types are @code{crescendo}, @code{decrescendo},
4503 @code{beam}, @code{slur}. This is an internal command. Users are
4504 encouraged to use the shorthands which are defined in the initialization
4505 file @file{spanners.ly}.
4510 @subsection Assignments
4513 Identifiers allow objects to be assigned to names during the parse
4514 stage. To assign an identifier, you use @var{name}@code{=}@var{value}
4515 and to refer to an identifier, you precede its name with a backslash:
4516 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
4517 the input-types listed above. Identifier assignments can appear at top
4518 level in the LilyPond file, but also in @code{\paper} blocks.
4520 An identifier can be created with any string for its name, but you will
4521 only be able to refer to identifiers whose names begin with a letter,
4522 being entirely alphabetical. It is impossible to refer to an identifier
4523 whose name is the same as the name of a keyword.
4525 The right hand side of an identifier assignment is parsed completely
4526 before the assignment is done, so it is allowed to redefine an
4527 identifier in terms of its old value, e.g.
4533 When an identifier is referenced, the information it points to is
4534 copied. For this reason, an identifier reference must always be the
4535 first item in a block.
4539 \paperIdent % wrong and invalid
4543 \paperIdent % correct
4548 @c . {Lexical modes}
4550 @subsection Lexical modes
4551 @cindex Lexical modes
4554 @cindex @code{\notes}
4555 @cindex @code{\chords}
4556 @cindex @code{\lyrics}
4558 To simplify entering notes, lyrics, and chords, LilyPond has three
4559 special input modes on top of the default mode: note, lyrics and chords
4560 mode. These input modes change the way that normal, unquoted words are
4561 interpreted: for example, the word @code{cis} may be interpreted as a
4562 C-sharp, as a lyric syllable `cis' or as a C-sharp major triad
4565 A mode switch is entered as a compound music expressions
4567 @code{\notes} @var{musicexpr}
4568 @code{\chords} @var{musicexpr}
4569 @code{\lyrics} @var{musicexpr}.
4572 In each of these cases, these expressions do not add anything to the
4573 meaning of their arguments. They just instruct the parser in what mode
4574 to parse their arguments. The modes are treated in more detail in
4575 @ref{Lyrics} and @ref{Chords}.
4577 Different input modes may be nested.
4581 @subsection Ambiguities
4586 The grammar contains a number of ambiguities. We hope to resolve them at
4590 @item The assignment
4595 is interpreted as the string identifier assignment. However,
4596 it can also be interpreted as making a string identifier @code{\foo}
4597 containing @code{"bar"}, or a music identifier @code{\foo}
4598 containing the syllable `bar'.
4600 @item If you do a nested repeat like
4612 then it is ambiguous to which @code{\repeat} the
4613 @code{\alternative} belongs. This is the classic if-then-else
4614 dilemma. It may be solved by using braces.
4616 @item The parser is not sophisticated enough to distinguish at the
4618 @code{c4*2 / 3 } and @code{c4*2 / g} (in chord mode).
4625 @c . {Lexical details}
4626 @node Lexical details
4627 @section Lexical details
4629 Even more boring details, now on lexical side of the input parser.
4640 * Version information::
4645 @subsection Comments
4648 @cindex block comment
4649 @cindex line comment
4653 A one line comment is introduced by a @code{%} character.
4654 Block comments are started by @code{%@{} and ended by @code{%@}}.
4655 They cannot be nested.
4658 @subsection Direct Scheme
4662 @cindex Scheme, in-line code
4665 LilyPond contains a Scheme interpreter (the GUILE library) for
4666 internal use. In some places Scheme expressions also form valid syntax:
4667 wherever it is allowed,
4671 evaluates the specified Scheme code. Example:
4673 \property Staff.TestObject \override #'foobar = #(+ 1 2)
4675 @code{\override} expects two Scheme expressions, so there are two Scheme
4676 expressions. The first one is a symbol (@code{foobar}), the second one
4677 an integer (namely, 3).
4679 In-line scheme may be used at top level. In this case the result is
4682 Scheme is a full-blown programming language, and a full discussion is
4683 outside the scope of this document. Interested readers are referred to
4684 the website @uref{http://www.schemers.org/} for more information on
4689 @subsection Keywords
4693 Keywords start with a backslash, followed by a number of lower case
4694 alphabetic characters. These are all the keywords.
4697 apply arpeggio autochange spanrequest commandspanrequest
4698 simultaneous sequential accepts alternative bar breathe
4699 char chordmodifiers chords clef cm consists consistsend
4700 context denies duration dynamicscript elementdescriptions
4701 font grace header in lyrics key mark pitch
4702 time times midi mm name pitchnames notes outputproperty
4703 override set revert partial paper penalty property pt
4704 relative remove repeat addlyrics partcombine score
4705 script stylesheet skip textscript tempo translator
4710 @subsection Integers
4718 Formed from an optional minus sign followed by digits. Arithmetic
4719 operations cannot be done with integers, and integers cannot be mixed
4724 @cindex real numbers
4730 Formed from an optional minus sign and a sequence of digits followed
4731 by a @emph{required} decimal point and an optional exponent such as
4732 @code{-1.2e3}. Reals can be built up using the usual operations:
4733 `@code{+}', `@code{-}', `@code{*}', and
4734 `@code{/}', with parentheses for grouping.
4742 A real constant can be followed by one of the dimension keywords:
4743 @code{\mm} @code{\pt}, @code{\in}, or @code{\cm}, for millimeters,
4744 points, inches and centimeters, respectively. This converts the number
4745 a number that is the internal representation of that dimension.
4753 Begins and ends with the @code{"} character. To include a @code{"}
4754 character in a string write @code{\"}. Various other backslash
4755 sequences have special interpretations as in the C language. A string
4756 that contains no spaces can be written without the quotes. Strings can
4757 be concatenated with the @code{+} operator.
4761 @subsection Main input
4764 @cindex @code{\maininput}
4766 The @code{\maininput} command is used in init files to signal that the
4767 user file must be read. This command cannot be used in a user file.
4769 @node File inclusion
4770 @subsection File inclusion
4771 @cindex @code{\include}
4773 \include @var{filename}
4776 Include @var{filename}. The argument @var{filename} may be a quoted string (an
4777 unquoted string will not work here!) or a string identifier. The full
4778 filename including the @file{.ly} extension must be given,
4781 @node Version information
4782 @subsection Version information
4783 @cindex @code{\version}
4785 \version @var{string}
4788 Specify the version of LilyPond that a file was written for. The
4789 argument is a version string in quotes, for example @code{"1.2.0"}.
4790 This is used to detect invalid input, and to aid
4791 @code{convert-ly} a tool that automatically upgrades input files. See
4792 See @ref{convert-ly} for more information on @code{convert-ly}.
4801 @c .{Local emacs vars}
4804 @c minor-mode: font-lock
4805 @c minor-mode: outline
4806 @c outline-layout: (-1 : 0)
4807 @c outline-use-mode-specific-leader: "@c \."
4808 @c outline-primary-bullet: "{"
4809 @c outline-stylish-prefixes: nil
4810 @c outline-override-protect: t